$95.00 - $350.00
Sat, October 1, 2022
Doors: 11:00 am
Show: 12:00 pm
Merriweather Post Pavilion
For complete festival details, visit allthingsgofestival.com.
No lawn chairs permitted for this event.
NEED PARKING? CLICK HERE!
VIP SUPER SUITE – Exclusive VIP Suite access & elevated viewing balcony of Pavilion Stage, Exclusive VIP viewing area of Chrysalis Stage, VIP host w/ concierge service for concessions, Phone charging station, Show poster, t-shirt & laminate, Reserved seat in the Pavilion w/ access to pit viewing area & SkyLawn, VIP entry lane at each gate, Interactive art installations, activations & 9:32 Club, Beer garden w/ craft cocktails, wine & beer, Vegan, vegetarian & gf food options, Water refill stations, free parking. VIP – Reserved seat in the Pavilion, Access to exclusive VIP deck with cash bar and food items, Expedited VIP entry lane at each gate, Access to GA seats within the Pavilion, front of stage pit viewing area, and SkyLawn, Two festival stages with 16 artist performances, Interactive festival art installations, activations, and 9:32 Club, Beer garden with craft cocktails, wine, and beer, Curated food choices including vegan, vegetarian and gluten-free options.
Songwriter, musician and performer Mitski has released five full-length albums. The most recent of which, 2018’s Be The Cowboy, was named Album of the Year by the likes of Pitchfork, Vulture, Consequence, ESQUIRE, and FLOOD, and the #2 Album of 2018 by The New York Times (Jon Pareles), NPR Musicand SPIN. It launched Mitski from cult favorite to indie star, landing her an extensive profile in The New Yorker and performances on Austin City Limits and Jimmy Kimmel Live! (she played The Late Show with Stephen Colbert following the release of 2016’s Puberty 2). After being off the road since September 2019, Mitski makes a daring return with new single/video “Working For The Knife,” which signifies a new intensity we haven’t yet seen from her yet. She’ll tour in 2022, playing theaters throughout the country, including Radio City Music Hall in New York, Shrine Exposition Hall in LA, Ryman Auditorium in Nashville, and more.
Lucy Dacus is a musician, performer and “one of the best songwriters of her generation” (Rolling Stone). She has released three full-length albums under her name, including last year’s Home Video, plus the boygenius album in 2018 with her bandmates Phoebe Bridgers and Julien Baker. Home Video was built on Dacus’ interrogation of her coming-of-age in Richmond, Virginia. In support of the album, Dacus played The Late Show with Stephen Colbert, Jimmy Kimmel Live!, The Tonight Show Starring Jimmy Fallon, CBS This Morning: Saturday, and was profiled on PBS NewsHour. Dacus made her Billboard Top 200 debut, landing at #1 on the Americana/Folk chart, #2 on Heatseekers & New Artist, and #3 on the Independent and Rock charts (amongst others). She has been written about extensively in The New York Times, Rolling Stone, Pitchfork, New Yorker and covered throughout her career on NPR.
Born and raised in Brooklyn, NY, King Princess is a vocalist, multi-instrumentalist and songwriter whose debut single, an ode to untold queer histories titled “1950,” became an overnight smash hit with over 560 million streams to date and eventually achieving Platinum status in the United States and Australia. Her debut album Cheap Queen was released in 2019 via Mark Ronson’s Zelig Records/Columbia Records to widespread critical acclaim from The New York Times, Pitchfork, NPR, Rolling Stone and others, and she has performed on “Saturday Night Live” and “The Late Show with Stephen Colbert.” Her sold-out tours have taken her across the world with festival sets at Coachella, Glastonbury, Governors Ball and Bonnaroo and landed her on the cover of V Magazine, GQ Style UK, Highsnobiety and more.
Maude Latour has a way with words. The 21-year-old singer, songwriter and current philosophy student at Columbia University has a knack for crafting the kind of stories that are at once both universal and specific — the hallmark of a born storyteller.
“The written word is an important part of my life philosophy and religion,” says Latour, who grew up between London, Hong Kong and Sweden before finally settling down in New York City. “I feel I’m in like some discourse with it always, some grand relationship with writing things down.” Her songs, she says, are like journal entries in that they’re “a declaration that I’m human, that I’m alive.”
If that sounds a bit mystical, it’s because it is. Latour describes her connection with her fanbase as “a little otherworldly,” bolstered by the fact that to date she’s responded to every DM and comment she’s ever received. Ultimately, though, the music is the connecting glue that holds all the pieces together. “There’s so many contradictions,” Latour says of the reality we live in. “And yet, there are these moments of connection when we all realize it’s the same molecules. Those moments are very accessible in my world, and I think it’s my life’s mission to bring them to the forefront of daily life through my music.”
Born in Ipswich, England to a military father and opera-singer mother Bartees Leon Cox Jr. had a peripatetic early childhood before eventually settling in Mustang, Oklahoma. Later, Bartees cut his teeth playing in hardcore bands in Washington D.C. and Brooklyn whilst working in the Barack Obama administration and (eventually) the environmental movement. Since charting a path as a solo artist, Bartees Strange has released two records in quick succession: an EP reimagining songs by The National (Say Goodbye To Pretty Boy, 2020) and his debut album proper, Live Forever (2020).
On new song “Heavy Heart,” his first for 4AD, Bartees is letting go of the guilt he has felt for years; guilt for his father’s sacrifices to build a better future for his family; guilt for the recent passing of his grandfather; guilt for the time he spends on tour and away from his partner; guilt for experiencing success while everyone else in his life was suffering after the release of Live Forever during the first year of the pandemic. Relinquishing those feelings, Bartees is hoping to move forward and towards an optimistic future — celebrating the wins even when life can be heavy and hard.
Through sharing the sacred space of meals and the secret space of dreams, MICHELLE presents a picture of a band enthralled by their craft, a group capable of melding six unique perspectives and backgrounds into one cohesive, impressive collection. Coming in January 2022, AFTER DINNER WE TALK DREAMS is the culmination of what it means for six friends and collaborators to continuously reimagine their world on 14 succinct tracks.
Born-and-bred New Yorkers, MICHELLE formed in 2018 around their celebrated debut album HEATWAVE. The band is comprised of Sofia D’Angelo, Julian Kaufman, Charlie Kilgore, Layla Ku, Emma Lee and Jamee Lockard. On their forthcoming record, the predominantly POC and queer collective are closer than ever before as they continue to mix and match the writing and production groups amongst the six of them. Jamee notes, “We’ve learned how to maximize everyone’s strengths by listening to each other.”
The hallmarks of MICHELLE’s music—layered vocal harmonies, analog synthesizers, vibrant percussion, smoldering hooks—dominate the sonic landscape of the album. Songs hop across genres, from funky R&B to bedroom slow jams to amped-up beat-heavy anthems and more. And the songwriting on AFTER DINNER has been elevated as there is a depth and prowess at work that builds off the band’s early songs, something they admit was learned by reflecting and allowing for artistic growth.
Charlie notes, “If HEATWAVE was a perfect image of every member of MICHELLE as a person at the end of their youth, this album really feels like a transition to adulthood, going from kids to…non-kids.”
AFTER DINNER sets a high standard from the get-go. “SYNCOPATE” is a straight-up, feel-good summertime jam with a two-step backbeat and jangly guitar strums, and clocking in at just under two minutes, it’s perhaps the tightest package the group has made to date. The band shares, “The song at its core is about desire. Communicating your desire can feel vulnerable, so we wanted to have some fun with that and show our funky and seductive side.”
“POSE” pulses along at a highly danceable clip while synths steer the beat. Chilled melodies and dense harmonies run the emotional 6/8 slow-jam “MESS U MADE” while the vocalists trade lead lines and bemoan the frustrated, coming-of-age, “today is not your day” anthem. “EXPIRATION DATE” dwells in that classic bittersweet space of a relationship doomed by external forces at work, while the incendiary “LAYLA IN THE ROCKET” blasts off to burn up the speaker.
Charlie notes, “Being with each other allows us to do a lot of things we wouldn’t have the energy-ability-resources-courage-wherewithal to do solo. There isn’t really one kind of music that sounds like MICHELLE, and us being such a diverse group gives us total creative freedom to do whatever we want.”
Layla adds, “The beauty is that everybody’s individual aspirations are the group’s aspirations, in a sense, because MICHELLE is the culmination of the best of us as individuals.”
AFTER DINNER WE TALK DREAMS is a snapshot of a band always adapting and evolving, jutting in and out of each other’s lives with this moment being their closest together yet.
My favorite word is “BLISS,” says THE BLSSM. The artist — colorful, and endearingly vibrant — demands the listener’s attention almost immediately, capitalizing and enthralling each letter in their song titles. This kind of intention — and attention-to-detail — has served as a guiding force for the effervescent spirit, Lily Lizotte (non-binary & favoring they/them pronouns) carries and more presently, their all-new EP, PURE ENERGY.
THE BLSSM recently changed their name from “THE BLOSSOM” to its current stylization, stating “I wanted to shorten it to something more abstract and less literal,” they said. “And I like that it sounds like it has the word BLISS in it.”
Splitting time between New York City, Los Angeles, and Sydney, Australia, THE BLSSM is well traveled. And their music reflects it. The singer-songwriter’s ability to feel voyeuristic while remaining rooted in self-imposed reality is only upended by their desire to rip off the band-aid and show off a whole new world of emotions. Encouraged to explore their natural inclination for self-expression by family members early on — their father Mark Lizotte, who assists on guitar arrangements across the new EP, and their brother, who’s responsible for playing N.E.R.D. around their artist residency, were instrumental — during adolescent years. And THE BLSSM immersed themselves into it, in as many ways as possible, from taking up fashion design and crafting visuals to match their soundscape sensibilities, to carving out room for a tribe of like-minded DIY Internet dreamers to find their seat at the table.
The BLSSM proves it’s possible to be an anomaly and an amalgamation all at once. A product of their influences and experiences, THE BLSSM opted out of formal education, and found struggles to blend in the more traditional spaces they occupied, in search of fertile ground to plant new seeds for their symbiotic art to grow. Writing in their bedroom, often alone, THE BLSSM explored hip-hop, grunge, shoegaze and alternative pop, laying the framework for their eclectic range of sounds that meld seamlessly, reminiscent of a young, brazen Amy Winehouse to that degree. From a generation of Kanye [Ye] disciples, THE BLSSM defies structure, instead using their energy and intention as a compass for their growing music discography, that’s now given them a community of collaborators alike — Brockhampton’s Kevin Abstract, Matt Champion, Romil Hemnani (who notably met on popular forum KanyeToThe) and producer, TK.
But if you let them tell it, THE BLSSM has lived a whirlwind life and with that, comes a whiplash of truths and a visceral tide of ups-and-downs, anxiety and depression, things that thrill doesn’t tell you that you’re left to cope with. And that’s where many of the songs’ thematic paths begin — not linear, but rather the bed of rocks at the foot of the ocean, constantly being brushed upon and absorbing energy, and then redirecting it in the best possible direction — oftentimes back into the ocean, where it can be free and unimpeded. “To express myself, I’ve learned how to jump off a million cliffs when it comes to taking risks,” THE BLSSM explains. “My project [PURE ENERGY] is about feeling everything at once and looking like a bit of everything, too.”
Overcoming these transgressions with a vulnerable yet celebratory project, THE BLSSM activates the maximum version of themselves to explore difficult subject matters as overtly and as self-aware as possible on PURE ENERGY. “Maximalism at its core, I hate minimalism! I’m a maximalist,” THE BLSSM declares. The thing about THE BLSSM is, they are pensive as they are instinctual, and the music ebbs and flows with a similar ethos. THE BLSSM may operate on the fringes, but one peak inside, and it’s quite intoxicating. Take a song like, “LITTLE KING,” that feels idly but is a strong-suit, creating the kind of inexplicable connective tissue, similar to what Young Thug’s prodigy, Yung Kayo, is able to do over emotional tracks. And then see “I HATE SUNDAY,” which feels like early aughts popstar nostalgia and Eddie Bauer-edition fords.
On PURE ENERGY, THE BLSSM delivers a silhouette on canvas, for us — the audience — to paint in our own reflections and personal experiences. THE BLSSM bears their soul over head-bobbing kick drums and sweet, sprawling chords on Mark’s guitar. They effortlessly weave together a body of work that is strikingly cohesive yet undeniably unique. Their songwriting hat finds soft familiarity with greats such as Elliot Smith, one of their biggest influences, and steadies as the creative undercurrent that keeps THE BLSSM at-bay, allowing them to digest themselves, like a caterpillar, and reimagine itself, through a new cell arrangement, as a butterfly.
And thus, THE BLSSM continues to evolve in their artistic journey, carrying their burdens like a charm. It’s a reflection of their personality — one where darker elements are intertwined with online humor and matter-of-fact playfulness — and it makes for a project that cuts through, bringing together all the exciting worlds that originally inspired Lily to start this adventure. And most importantly, THE BLSSM remains unapologetic about it, “That’s all my project is, it’s very loud and unimpeded. This is what pop music sounds like to me. This is what I wanted to make.”
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, MD, 21044