Before discussing their actual performance, I think it is worth noting their stage set-up. When I arrived at the Englert and sat down in my seat, my eyes were immediately drawn to the vacant stage which was full of anywhere between 15–25 massive amps and speakers facing menacingly towards the crowd. These amps, besides a handful of lights sitting behind them, were really the only things on the stage. I was aware of their incredibly loud stage presence before the show, but seeing the comical amount of speakers on stage set the scene for the night I was about to have.

Before sunn O))) took the stage, Gentry Densley–a Salt Lake City based experimental metal artist–played a 45 minute performance. This performance was unlike any live show I have been to at this point in my life. Densley stood in the middle of the stage with one guitar and played songs that mixed drone metal guitar playing and heavy metal throat singing. Each song blended into each other, making it hard to tell when one song ended and another began. It was an incredibly interesting and innovative performance that I would love to see again some day. How one person was able to create such a rich soundscape alone, I have no idea.

Densley was loud of course, but nothing could’ve prepared me for the sensation I experienced once sunn O))) finally took the stage. Through a heavy cloud of fog produced by fog machines off stage, and deep red stage lights, O’Malley and Anderson came on stage in their signature black robes. The crowd cheered after the long wait, and only stopped when both performers strummed a chord out on their guitars – a chord so loud that you could feel the sound waves rattle throughout your entire body. I cannot stress enough the power that each of their guitar strums had–it is not only that you felt the vibrations of sound throughout your whole body, but that it was truly unescapable. You could feel your chair, the walls, the ground, all rattling to their blaring music.

Their entire performance, which lasted around 90 minutes, consisted of just 5-6 songs that were stretched out as long as they possibly could. The performers would strum their guitars, slowly raise their hands up in the air, and strum their guitars again. This pattern, along with the lights continuously changing throughout the course of the night, lasted the entire show. Despite the repetitious nature of the music, I never found the performance boring or got the the sense that it was dragging on. O’Malley and Anderson’s stage presence, as well as their inventive music, was enough to make the show interesting from start to finish.

Even if you are not a drone metal fan, or even a heavy metal fan, I still think missing a sunn O))) performance would be a huge mistake. Rarely at this point in my life do I get the opportunity to say ‘that performance was truly unlike anything I have ever seen before,’ but in this case it genuinely was. I think that is reason enough to check out these performers live. With their stage presence, their near-deafening music, and their incredibly devoted fanbase, the energy in the room was palpable and undeniable. Solely given the sensation that their thunderous music gives you, sunn O))) makes the case that music, as much as being heard, is to be felt, and experiencing that sensation in person was a one of a kind experience.

The post Iowa City Left Shaking After sunn O))) Concert Review appeared first on KRUI Radio.

I certainly had specific expectations going into the reading, but at same time I was excited as I had never gone to a poetry reading before or something related to it like a slam poetry night. I’d assumed that the poetry read aloud would contain somber themes and the whole thing would be defined by a seriousness to it. However, Smith made the whole ordeal feel more like an they were the energetic opener that was getting us ready for the act after them, which was a performance from the Branford Marsalis Quartet. 

Smith started off with (and retained really) a cheerful attitude and surprisingly wanted the audience to react loudly. They started off with the classic “Hello, Iowa City!” expecting we would cheer loudly back. Of course when that didn’t happen, they demanded we do try again. Naturally, the audience (and myself) did cheer louder, and Smith remarked on how that was an improvement. I found myself shocked as I didn’t think you were even allowed to cheer at a poetry reading. I never thought I’d see a poet actively wanting to hype up their audience. Nevertheless it was a pleasant surprise and made me intrigued into what was coming next.

For the poems themselves, I really admire the selection Smith had gone with. The first poem was about Sioux City, another city in Iowa that was a nice way of adding something special for the Iowa City audience. I liked how the poem used the location to discuss something more serious like colonialism, which didn’t feel unnatural in the overall poem. Certain lines that stuck with me were “naked strangers,” and “evidence of evil,” just to name a couple. 

Smith followed those poems with a few love poems as well, I remember one was dedicated to their husband which of course when Smith mentioned that made me and some audience members audibly go “aww!” and of course Smith followed it up with a joke. I also recollect that Smith shared a poem which detailed how their barber had found out they were queer, which I found impactful and well well written. 

This reading if anything at points did feel like a stand-up show of sorts, Smith wasn’t afraid to crack jokes every now and then. Some that really stuck with me and had me laughing was their joke regarding the recent revelation made about former Department of Homeland Security Kristi Noem’s husband, and one later that came when Smith had asked the lesbians in the crowd to cheer and unfortunately no one had cheered. I remembered Smith’s exaggerated shock and reminded the audience we should love lesbians before they moved on to reading a poem about lesbians. 

Overall, I would say Danez Smith’s poetry reading was quite literally the most memorable fifteen minutes I’ve experienced thus far. Smith’s poetry reading really showed that poetry readings don’t always have to maintain its serious flair and can be lighthearted. After the reading had ended, it definitely sparked an interest in checking out more of Smith’s work and maybe even attend another poetry reading in the possible future. I can only hope they can capture my attention that Smith did but as of right now, that’s gonna be pretty tough to beat.

The post Playful Poetry, Danez Smith Reading from Stop/Time Festival appeared first on KRUI Radio.

My day at Stop/Time actually started with a completely separate event. Waking up and knowing I had a few hours to kill before my sets started, I decided to check out Public Space One’s Ice Cream Zine Fair. Even as someone who rarely engages with art in this medium and actively avoids anything resembling a crafts show or farmers market, I thoroughly enjoyed sifting through the various tents and seeing so many different unique and talented artists captivating work. From diy magazines, to more traditional printed art, to experimental short film video compilations, this was living proof of the depth of quality and variety living within Iowa City’s vibrant arts community. And I’m more than happy that I got to experience this the same day as another fantastic arts festival. 

Unfortunately during the zine fair, I misplaced my Stop/Time badge which led into a minor panic. Frantically searching my whole dorm and car with 30 minutes left on the clock before Evicshen began, I ended up biting the bullet and returning to the festival’s headquarters at The Graduate hotel and begged them for another one. Thankfully they abided and graciously gave me another one before I could miss more than I already did.

Evicshen

Walking in a few minutes late I immediately took in the piercing buzz saw like noise and pulsating energy even from outside Gabes’ building. This enticing feeling carried on as I walked upstairs to the dark flickering lights shining on a crowd of people completely entranced by something completely alien in sound and performance.

As mentioned in my preview, Evicshen can be better described as a performance artist instead of the more conventional musician. She focused more on creating these extremely enthralling atmospheres using various sound distortion techniques and visual experiments. These techniques included bending records, scratching them with blades, and outright spinning them building into the occasional moments of harmony and rhythm. She created such an unpredictable environment, anytime I thought I had her next move pinpointed, I was sidestepped. 

After a shockingly beautiful moment of horn playing during her set, we returned back to the full-effect harsh noise as her body became wrapped in a tangled mess of cords, torn up records, and recording equipment scattered across the dance floor. Finally, the set ended with possibly her most shocking act: a large strong twirling of a real whip in the middle of the audience floor. It twirled only inches away from the closest audience members (myself included) as the distortion blared at its highest. With one final splitting crack of her whip, the distortion stopped and the lights turned on, capping off an incredible performance.

Sharp Pins

Coming into the next set I was already extremely excited, I’ve been a regular listener of Sharp Pins and the Kai Slater canon ever since discovering a Lifeguard track on our lovely KRUI music staff new-adds back in September. It’s very easy to get drawn into his catchy songwriting and quirky 60s aesthetic (both musically and visually), but the band keeps you staying with consistently great music. I had high hopes for their performance and was more than pleased for those to be completely fulfilled.

The three piece started their performance with Every Time I Hear, one of their most popular songs off of my personal favorite album of theirs, Radio DDR. The song perfectly kicked off the set with this gorgeous twangling guitar riff and simple but effective drum pattern, coming at a modest volume, but not enough to completely drown out the band’s beautiful three part harmonies. Almost instantly after the song ended, the band transitioned into You Turned off the Light, another catchy lo-fi pop rock banger off of their debut Turtle Rock record. The repeating bar chords and “girl, oh girl,” during the chorus continued to raise the light, abrasive energy of the concert into new heights while Kai Slater does his classic little rock kicks and jumps. 

As Sharp Pins seamlessly shifted from song after song of warm, lush musicals textures and lovable songwriting I realized I was losing myself in the performance, not wanting it to end. Unfortunately, as all good things do, it had to. They ended the setlist with I Can’t Stop, undoubtedly one of their best works. Their usual soft yet gorgeous sonic palette is no different on this track with the repeated lines “when I think of you don’t forget it,” tickling my eardrums in the best possible way. The song finishes with little instrumentation and the layered chanted chorus graciously fading into the background, ending a phenomenal concert experience.

From the loud and visceral Evicshen to the warm and soft Sharp Pins to even the Zine Fair, it was truly incredible getting to see such a unique and strong array of artistry across Iowa City that day. A true testament to this city’s talent and commitment to all forms of art. Thank you Hancher for bringing all these talented artists to Iowa, and thank you Stop/Time for a great first year.

The post Evicshen & Sharp Pins at Stop/Time Festival, April 4th appeared first on KRUI Radio.

Underscores’ last studio album “Wallsocket” leaned in a folk, indietronica direction, with heavy worldbuilding elements and a lot of social commentary. This time, underscores combined her hyper-pop sound from the first album “Fishmonger” with a new energetic and electropop one, making her latest album “U” a “good thesis statement of who I am as an artist”, as stated by Grey in an interview with Vogue.

In that same interview, the musician also talked about her longtime fascination with hotels, airports, and malls from her childhood, especially the way people listen to music while moving through those spaces. This heavily inspired the album and you can certainly notice: from the mall in the cover art to the visuals where she hauls around luggage while dancing with her headphones in. It’s a short, cohesive, and focused record that offers some of the best pop songs this year.

“U” starts off strong with “Tell Me (U Want It),” a beautiful song where underscores first showcases the usage of her breath as an instrument. From the breathy and rhythmic intro we move to soft verses and an exciting chorus. One of the most interesting parts of the song is the outro where she adopts these harsh, robotic whispers as the song fizzles out. It’s an instant classic in her discography and it flows well into the following track “Music,” which had everyone obsessed when it dropped as a single. It was my first underscores song, and I was totally blown away. This beautiful track compares the company of a special someone to the feeling of listening to/making music, incorporating mesmerizing beats and harmonies. The song feels like underscores’ love letter to music and her passion for it really shines through, especially with the breakdown in the bridge where she mentions multiple genres of music that are meaningful to her.

We then move into the first new song for me (since I already knew the singles) called “Hollywood Forever.” The brilliance in this one comes from the switch ups, which make it feel like three songs in one. Following that we have “The Peace,” a song different from everything I’ve heard from the musician. Vocal inflections are chopped up in the beginning and she uses her breath as percussion for the second time. This is actually maintained throughout the whole track, making for a consistent, electronic-heavy song that offers a nice break from the previous three explosive ones.

Next is my personal song of the year (and no, I don’t care that it’s too early to call): “Innuendo (I Get U).” She does get me! Demonstrated by her inclusion of everything I think sounds cool in a song: quick switch ups, intense kicks, well-placed talk singing, a powerful beat drop, and playful lyrics. Underscores uses her whispers and soft register once more, combining them with loud, layered vocals, proving her versatility. 

“Lovefield” is another one of my favorites. Spacious and atmospheric, the track starts off soft and laid back, eventually dissolving into a gorgeous display of underscores’ vocal range as she belts the chorus one last time. “Do It” is a wonderfully produced, quintessential underscores track released as one of the three singles. It’s upbeat and fun, and probably the first song I’d recommend to someone wanting to get into her music. Though there was also a remix of the track featuring Yves before the album dropped, I like this version better (but by a close margin).

“Bodyfeeling” is my least favorite on the record, but still a very good song that became quite popular with the fanbase. This one is more interesting lyrically, with touching verses about ignoring your body and your reality in favor of existing in a fantasy with the person you love. However, the chorus beat felt a little clunky.

The final track “Wish U Well” follows a similar pattern to “Lovefield” in the sense that it’s also laid back, albeit without an explosive bridge or chorus. Again, the lyrics hit me pretty hard and it made for such an emotional and dreamy song that easily slipped into my top 3 (alongside “Innuendo (I Get U)” and “Do It”). Overall, this underscores project is a progressive, hyper-pop, and electronica masterpiece that everyone should check out. Just put on some headphones, find a good mall to wander around in, and lose yourself in the glitchy, maximalist world of “U.”

The post Feeling the BPM with underscores’ third studio album “U” appeared first on KRUI Radio.

Bassvictim – ?

Bassvictim, a duo riding the indie sleaze revival with electroclash/bloghouse albums such as with their Basspunk series, takes a sonic and mood shift in 2026 ? EP. Maria Manow and producer Ike Clatman leave behind many of the dance-oriented and intentionally trashy influences in favor of deeply intimate folktronica and twee pop, similar to that of the Femcells’ debut album released this past January, also produced by Clatman. The album’s themes are deeply nostalgic of childhood and contrast innocence and wisdom; this can be heard as many of the folkish influences pull more from Manow’s Polish and Eastern European heritage than the traditional American folk revival harmonies. The 7-minute track Babcia Jadziais easily stands as the album’s highlight and contains stripped-back xylophones and toy sounds with childish vocals reading a tearjerker poem. Easily one of my favorite and well-executed surprises this year. It’s worth the listen.

–Amman Hassan

Stars Hollow – Catch Me (single)

Iowa’s own Stars Hollow has released 2 brand-new songs In preparation for the release of their record Kind of Hoping on April 24. Named after the fictional Connecticut town featured in Gilmore Girls (as well as in Supernatural according to my sister), the sound of Stars Hollow fits shoulder-to-shoulder with other emo projects out of the Midwest from the mid-2010s and early 2020s, though Hot Mulligan and Arm’s Length certainly come most strongly to mind. The singles feature competent math-rocking, scream-singing, and some solid guitar riffage. Stars Hollow starts an album release tour this summer, playing alongside their contemporaries Palette Knife and Kerosene Heights in Des Moines, IA on the 22nd of May. There’s still plenty of time to memorize the lyrics, if you can decipher them through the vocal fry. If the quality of their upcoming album follows the singles, we are in for another solid, supremely rare, emo record out of the Hawkeye State this April.

FFO: Hot Mulligan, Kerosene Heights, Arm’s Length, Palette Knife, Origami Angel.

–Daniel Lawless

heavensouls – westside trapped

While studying for midterms this March, the music I was listening to played a huge role in whether I could stay focused or not. Throughout this time, heavensouls was on the heaviest rotation. Largely known for The Sidepieces (his collaborative effort with experimental rapper Stickerbush) the duo has been making fun, glitchy, maximalist music bordering on the line of hip hop and electronic for the past few years. While all their releases have been great this is likely my favorite thing he’s made. Taking the more energetic sound collage inspired production of his previous works into these more varied lush textures, dipping into more classical genres like soul, jazz and funk. Creating these beautiful luxurious soundscapes that feel like you’re being transported into another world.

My favorite track off the album is easily shed a tear for me, the nine-minute long penultimate track. Starting with the beautiful repeated vocal line of “i can’t breathe,” backed by quiet piano notes before going into this danceable drum line and electric guitar solo (with a fucking choir in the background). This is briefly interrupted by a spoken word section before crescendoing back into this gorgeous multi minute instrumental breakdown. It’s truly a masterpiece of music production and will keep me beyond seated for anything heavensouls makes in the future.

–Tarik Krob

Fcukers – Ö

This is one of the greatest [my favoriteist!] music videos maybe of all time ever.

Contributing to the electronic/sleaze/dance beat wave, NYC duo Fcukers released their lorazepam-ed indie-sleazer debut album Ö last week. It’s a flirty voice and half-lidded eyes hidden behind sunglasses, a big-lights-on house party where scents of designer perfume mix into the cheap wine. The production from Kenny Beats ties UK garage and sleaze into a lazy-cool record that actually works, a genuine miracle these days. Jackson Walker Lewis of the duo describes their approach to reviving the indie sleaze nostalgia by asking, “what would Basement Jaxx do if they were young now?” Don’t get me wrong, this album is trendy, neither timeless nor monumental as the fresh gets cut through by an underlying tiredness. But in this charming moment we all share, it’s sickly sweet & sexy. It captures the haze of a club at 4am, everyone left on the misty dance floor swaying through their own drowsy sense of fatalism.

Ö is one of those albums that makes my depraved kitchen feel like a club for 30 minutes, which is truly all that a good dance beat album needs to be. An aching pit rests in my stomach, this leaden premonition that some track off this album is gonna blow up online and bring great fortunes and success to those Fcuckers (at least success beyond a Jimmy Fallon performance). Listen to it now so you can be cool before it’s not cool anymore. fucking what else is there to do i guess. besides dancing in your kitchen. and reading student radio articles.

–Pauly

Slayyyter – WOR$T GIRL IN AMERICA

Miss Slayyyter dropped WOR$T GIRL IN AMERICA this month, an explosive and explicit electro-pop record that took the internet by storm. every song sounds interesting, from heavily produced ones like “CRANK” and “YES GODDD,” to tamer ones like “GAS STATION” and “UNKNOWN LOVERZ.” There are also tracks like “DANCE…” which perfectly mix the adrenaline of grittier and more saturated songs with the less explosive ones.

The production of this album is packed with techno-electronic synths and EDM pop reminiscent of early 2010s Lady Gaga and Kesha. The drums and snare construct the songs masterfully. The album is also littered with nasty synths, which are definitely the highlight characteristic of the project for me. Many of the songs carry a sharp baseline that gives me an 80s slasher soundtrack vibe. Her vocals range from a controlled and sultry tone, to a bigger display of her range and impressive belts mixed into many of the choruses. She’s just electrifying through and through. The high you get from this album makes you wanna move a million miles a minute. This album makes you wanna crank up the volume and dance, which really is the unofficial motto of WOR$T GIRL IN AMERICA.

–Clara Carrion

Maria BC – Marathon

Maria BC‘s Marathon feels like a logical step in the specific school of psychedelic folk that Sacred Bones Records has been pushing for years now. This record falls well within the tradition of established acts like Marissa Nadler, whilst retaining a sound very much its own. Maria’s performance is immediately intoxicating and demands the listener’s full attention as the slow progression of each track evokes the revolution of the earth, each track seamlessly transitioning into the next. A handful of cinematic instrumental interludes create a sleek journey from one track to the next, as Maria’s voice parses the desolate soundscapes as pleas from the void. The first song and title track constitute an undeniable hook to the record, placing Maria’s methodical craft on full display, and setting the tone fantastically for the record ahead. If you are at all a fan of folk, this is a record for you.

–Evan Raefield

The post KRUI Staff Picks: Best Releases of March 2026 appeared first on KRUI Radio.

Friday at Hancher Auditorium

Donika Kelly, 6:30pm

A fitting opener for a festival about exploration and discovery, poet and University of Iowa English professor Donika Kelly will kick off the Stop/Time festival with a short, fifteen-minute reading at Hancher. Kelly’s poetry is reflective and expansive, covering themes from consuming love to blinding pain and everything in between. Her first book of poetry, Bestiary, won the 2015 Cave Canem Poetry Prize, and her most current book, The Natural Order of Things, was released in October 2025 to positive reviews. Many of her individual poems have been published in The New Yorker, The Atlantic, and The Paris Review.

–Bailey Vergara

Ambrose Akinmusire, 6:45pm

Hey, you. Do you like jazz? Let’s hope so, because renowned trumpeter Ambrose Akinmusire is coming to Hancher Up Close to bless your ears with musings that combine avant-garde jazz, post-bop, hip-hop, and more. With music, Akinmusire hopes to break down the educational barriers surrounding classical jazz and uplift community stories; he borrows from tradition, but is not constrained by it. His newest record, “honey from a winter stone,” is an exploratory journey through a variety of moods, from slow and meandering to restless and lively. And in case you aren’t already sold on his talent, his 2023 album “Owl Song” was nominated for a 2025 Grammy award for Best Jazz Instrumental Album.

–Bailey Vergara

Mei Semones, 8:45pm

24-year-old guitarist and singer Mei Semones will bring her technical talent and playful songwriting personality to Club Hancher in Strauss Hall of Hancher on Friday. Her songs blend indie rock, bossa nova, jazz, and dreamy pop, with lyrics in both English and Japanese. Despite their intricate layering, you’ll still find them easy to hum along to, and you may not be able to stop. Semones’ newest full album, “Animaru,” is dedicated to her trust in her own instincts, built through years of practice and demonstrated by ornate guitar riffs and refined, breathy vocals. Her upcoming EP “Kurage” — which features Liana Flores, John Roseboro, and her own dad — releases April 10th.

–Bailey Vergara

Saturday across Iowa City

Evicshen, 4:30pm at Gabe’s

Tapping into the weirder side of the Iowa City music community, Hancher brought in San Francisco based experimental noise artist Victoria Shen. Performing under the name Evicshen for the past eight years, her music uses powerful walls of sound and intense textures that assault your sonic palette. This often is used with extremely creative ways of bending or playing her records, such as comb filtering and folding records with her nails. 
Within her live shows, she combines this extremely well with creative art installations, and the use of weaponry and other eccentric performance antics to create a vibrant visual experience, and assault on the senses. Watching some of the recorded concerts was a beyond fascinating experience, and something I hope a lot of you guys can enjoy. 
Artists like her aren’t interested in growing a large audience, or mass producing their music. They’re interested in performing for a niche crowd who understand their artistic version, and are open to hearing music on the more experimental and macabre side of the isle. If this intrigues you, she’s playing at Gabe’s at 4:30PM, come with ear plugs.

–Tarik Krob

Sharp Pins, 6:00pm at Gabe’s

Sharp Pins, an exciting new voice in the music underground, is a one man band combining elements of classic rock with more modern indie and alternative stylizations. The side project of Kai Slater, lead singer of fellow Chicago band Lifeguard, has been picking up steam in the last few years with some incredibly unique and high quality albums.
His most recent album Balloon Balloon Balloon is a jangly hallucinatory odyssey connected by three different tracks simply labeled Balloon 1-3. Wearing his influences off his back with zero shame, the album takes the trippy, other worldly sounds of psychedelic bands of the 60s like The Beatles and The Zombies with a more stripped back DIY sound, similar to post punk bands like Joy Division and The Velvet Underground. Their previous release Radio DDR has a similar vibe, but with a more varied song lineup and more pop-centered approach to songwriting. If Balloon Balloon Balloon felt like listening to your grandparents old low fidelity radio, then Radio DDR feels like sifting through random singles in their vinyl collection. 
If any of this at all sounds interesting to you, check them out at 6PM at Gabe’s. Start listening before it’s cool to say you’re a fan.

–Tarik Krob

Danez Smith, 6:45pm at the Englert Theatre

On April 4th, queer, non-binary poet and performer Danez Smith will return to Iowa City to perform at The Englert Theatre for the Stop/Time festival. Smith previously led a workshop and hosted the Writers of Color Reading series in 2017, which was also produced by The Englert. Smith was born in St. Paul, Minnesota, and later earned degrees from the University of Wisconsin-Madison and the University of Michigan. They’re best known for their poetry collections Boy (2014), Don’t Call Us Dead (2017), and Bluff (2024). Their work has won multiple awards, such as the Forward Prize for Best Collection, the Minnesota Book Award in Poetry, and the Lambda Literary Award for Gay Poetry, just to name a few. Smith has also performed with rapper Macklemore, back in 2016 on The Late Show with Stephen Colbert, along with Chicago-based poet Jamila Woods. 
For those interested in attending a poetry reading or specifically in Smith’s poetry, they will also being hosting a reading at Prairie Lights at 3:15 pm that same day. This reading is presented by Stop/Time Festival, but entry at Prairie Lights is free for all.

–Ria Das

The Branford Marsalis Quartet, 7:00pm at the Englert Theatre

The Branford Marsalis Quartet is a jazz band, closer described as a chamber group, headed by American saxophonist Branford Marsalis. Marsalis is a composer and the leader of the band. He has played with Miles Davis, Herbie Hancock, Sting, the Grateful Dead, and Dizzy Gillespie. He has been playing the saxophone in bands and solo since the 1980s. The quartet officially formed in 1986 with members Kenny Kirkland on the piano, Jeff “Tain” Watts on drums, and Robert Hurst on bass. Pianist Kenny Kirkland died in the 90’s and was replaced by Joey Calderazzo and Robert Hurst was replaced by Eric Revis on bass. Later Tain left the band and was replaced by Justin Faulkner. On Saturday night they will be featuring their newly released album Belonging, which came out last March. Expect an experimental yet classic jazz sound from this quartet. As Marsalis notes, “it doesn’t really matter where our journey goes, as long as we keep the dance going.”

–Moira Grant

Golomb, 8:00pm at Gabe’s

Golomb is a alternative rock band from Columbus, Ohio and are made up of three members, two of which are married (members Mickey and Xenia Shuman). The third member is Xenia’s brother, Hawken Holm who plays drums while Xenia and Mickey sing and play bass and guitar. They have a dream-like/indie sound, leaning into noise and experimental rock. They write their own songs and were formed in 2018. Expect a lively show with folksy-sounding guitar riffs and country elements such as a pedal-steel guitar, especially in the song “Sweet Release (Ain’t No Devil)” but also a loud, lively, and heavy sound from the song “The Beat Goes On.” This band is experimental as well. The lead singer Mickey sounds just like Stephen Malkmus, the lead singer of Pavement. Xenia often does the background vocals and harmonizes excellently with Mickey. Perhaps being unified in marriage also transfers to being unified in sound and music? Find out this Saturday.

–Moira Grant

Tortoise, 9:15pm at The Englert Theatre

The post-rock Chicago legends Tortoise join us in Iowa City to close out The Englert Theatre’s share of events this weekend. This is one of those bands that people on the internet debate about at such a mighty length that this discourse can only be achieved through the means of doctorate dissertations or through Reddit. But at their core, they’re a rock band built from atmosphere. Influenced by electronica, krautrock, and jazz, their music is this kind of eclectic and wondrous mish-mash. It feels a stretch to call it “rock,” the sound is so minimal yet so captivating in how it pulls a listener directly into this world they’re creating. They’re current tour follows the release of Torch, their newest album from last year released after nearly a decade record hiatus, yet still ringing out the same quality as their 1998 landmark TNT album. I’d truly recommend seeing this band, they’ve played such a major part of the post-rock foundation and seeing them at this festival really encapsulates the exact artistry that Stop/Time Festival is creating space for.

–Pauly

Frankie and the Witch Fingers, 10:30pm at Gabe’s

Punk-rock band Frankie and The Witch Fingers performs at Gabe’s for Stop/Time Festival and as part of their tour for their newest album, Trash Classic. The band was originally formed in Indiana by founding member Dylan Sizemore, the band’s vocalist and rhythm guitarist, and later relocated to Los Angeles. Currently, the band consists of Josh Menashe (vocalist, lead guitarist, and synthesizer), Nikki Pickle (bassist), Nick Aguilar (drummer), and Jon Modaff (synths). Frankie and the Witch Fingers evolved from Sizemore’s original solo act into a band, signing to record labels such as Permanent Records, and released their self-titled first album in 2015 with their psych-pop/acid-rock second album Heavy Roller out a year later. The band has since released more albums, with their most recent Trash Classic in 2025, described as plunging, “into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite.” If any of that sounds interesting to you, consider attending their show for the chance to rock out with them live!

–Ria Das

There’s plenty more to see at Iowa City’s first Stop/Time Festival this weekend, with a huge spread of incredible local and touring artists, authors, and poets presented by Hancher Auditorium. For more information on further events and to purchase tickets, check the Stop/Time website here.

The post Stop/Time Festival 2026 Preview, a new festival celebrating music and the arts across Iowa City appeared first on KRUI Radio.

Reaching 73 degrees earlier that day, the last place I wanted to be was inside. But only once in my life have I ever woken up knowing I was seeing Bob Dylan that night, which quickly overrode the former feeling. March 25^th has been marked on my calendar for months, as Dylan quietly announced 6 weeks on the road on December 8^th, 2025. Never one for showmanship in recent years, or even a social media post promoting the tour, this gig still sold out in moments. Dylan often moves in silence, online and onstage. His Instagram, lacking any and all publicity for upcoming shows, has become a bulletin board for things he has recently enjoyed such as boxing highlights, over an hour of audiobook from Aaron Burr’s “On the Art of Survival”, and whatever he has been jamming with lately. Dylan is arguably the king of casual posting, and heavy is the head to wear that crown.

One extra note about his online presence, he has started a Patreon. In all honesty, I had finished this piece and was giving it a day to come back and edit with a fresh mind. I opened up his outlandish Instagram after re-reading this portion to find he has published a handful of posts under the title “Lectures From the Grave”, original short stories from famous characters in history. Bob has always been heavily interested in the past of America, especially considering his nearly 17-minute song “Murder Most Foul” about the assassination of John F. Kennedy. I will not be spending the money to find out what Bob has marinating in his mind, but feel free to invest the $5 if that’s within your persuasions.

Once inside the venue, phones were immediately placed into sealed pouches by venue staff. This was not the first time I have experienced this, but it was by far the strictest. In previous experiences with phone pouches, it has been done before entering the seating area of the venue, but because of this policy’s immediacy I entered into a talkative and lively Hancher lobby. This capacity crowd was shuffling into their seats around my arrival at 7:45 for the 8:00 show. No openers, not pre-show performance, just Bob.

Starting at right at the hour, there was no razzle-dazzle to Bob’s appearance. Put roughly 25 feet back from the edge of the stage, Bob Dylan waddled on stage preceded by Bob Britt and Doug Lancio on guitar, Tony Garnier on bass, and Anton Fig on drums. Donning an all black outfit with a matching baseball hat layered with a hooded gray rain jacket, there was nothing visually flashy about this performance. Large beige curtains towering the peninsula of the stage with an extremely basic lighting rig that did not change once. The lighting was so bare bones that the houselights were left on for the first two songs of the set, “I’ll Be Your Baby Tonight” and “Man in the Long Black Coat.” I am glad they were soon turned off but would not have been surprised if it was an ‘artistic choice’ by the Golden Globe Winner.

Dylan’s musical setup was minimal as well. A keyboard in the middle of this barren layout being used as a tabletop for four cups, two harmonicas, and a songbook for the nights setlist. Not all of the cups were used, not every sheet of music played, but both harmonicas were in circulation near the end of the set in “Don’t Think Twice, It’s Alright” and “Every Grain of Sand.” There were no words spoken by Bob besides a muttered band introduction succeeding “Soon After Midnight.” He did have a small arsenal of ‘rockstar moves’ that included standing up while playing the piano and bending his knees to return to that beloved seat not long after that primary move.

This tour features his 2020 record heavily. Rough and Rowdy Ways is a solemn piece of work, where Dylan reflects on his final chapter being written. There is a balance between the self and world on this record. “I Contain Multitudes” feels like a journal entry of a man who knows the path he has walked down, and wouldn’t turn back for anything. “There is no love left behind,” Dylan croons near the end of the song with a serenity that some can only dream of. This record, although filled with lyrics reminiscent of what made Bob so famous, can be a little rough on the ears. His vocals have long been a barrier of entry to his work, and 60-plus years of touring and recording have not remedied the roadblock. This may truly answer the question of why there are so many Bob Dylan covers. From The Rolling Stones to Billy Strings, generations have taken this timeless tracks under a microscope to view what makes the songs so contagious and create their own version with the same inflections.

Was this a bombastic rock and roll revue that left the walls shaking?

No.  

Was it extremely cool to see this incredibly storied musician live as a bucket list act?

Yes.  

From The Traveling Wilburys to the Basement Recordings with The Band, Bob is arguably the most seasoned musician of the modern world. The infinite artists he has influenced and the thousands of covers he has been the author for, the world of music would not be the same without Bob Dylan. He is not high on my priority list to see again, but I am glad I was there. Dylan continues his Rough and Rowdy Ways Tour throughout the 2026, more information can be found here.

The post Bob Dylan: Rough and Rowdy in Iowa City, March 25th, 2026 appeared first on KRUI Radio.

Wednesday evening was exactly what I wanted, a rock and roll show. Isbell and his band did not hold back throughout the evening, and without an opener there was no time to blink. Touching on four records with The 400 Unit and all four solo LP’s, this was a career spanning performance for the group. Through Isbell’s first solo hits like “Dress Blues” from 2007’s Sirens of the Ditch through his latest record Foxes in the Snow with the tune “Bury Me,” it all felt as though these musicians had all been playing these tunes for decades.  

This concert was an approachable and engaging performance as someone who has never seen Isbell before, showing me a mix of the entry points I knew, and the deeper cuts that kept fans coming back. The show felt close, as though you were in the same rehearsal space as the band as they discussed the ever-changing setlist on this tour. Iowa City was treated to a heavy dose of Weathervanes with five tracks making an appearance compared to a few nights before in Pittsburgh where they received only 3 in exchange for some more Drive-By Truckers tracks. Isbell recently reunited with the Truckers for a performance on The Late Show with Stephen Colbert after his departure in 2007, and showing even more love as every night on his recent leg covering “Decoration Day.”  Near the end of the set, the icing on this very sweet cake was a cover of Paul McCartney’s “Let Me Roll It'” which fit The 400 Unit’s voices nicely, echoing the same force The Wings had when it released in 1973. This was the first time Isbell and The 400 Unit have ever played this live, but it sounded like a classic from the cabinets of their discography.

The casual and laid back approach Isbell and company had is what I loved so much about this gig, as they dabbled in more jam band tendencies than most. Songs with solos lasting upwards of 3 minutes as the musicians on stage traded bars back and forth. Jason Isbell taking plenty of solos for himself, sauntering around the stage with a rotation of a red Fender Telecaster, gold Gibson Les Paul, and a sunburst Gibson ES-335. While these beautiful instruments made the soundtrack to the evening, an circular gold plate caught the attention of most. Multi-instrumentalist WIll Johnson, Isbell’s latest edition to the band, was shadowed by a gong for the show. While jumping between drums, guitar, and whatever else the band needed, the gong remained untouched. That was until the back half of the setlist, when Johnson graced bronze ring to the satisfaction of the crowd and band alike. Isbell went on to calm and hopes that this would be a recurring instrument stating “if you hit the gong more than once, you’re not hitting the gong, you’re playing the gong.” I can’t fight that logic. 

Headlining the 1,800 seat palace was not the only feather in Isbell’s cap during his time in Iowa City as he spoke of his placing third in Tuesday Night Trivia at Joe’s Place. He let out some frustration that bronze was all they got, claiming a few folks may have been googling answerers on competing teams. These are serious allegations leveled to the patrons of Tuesday Night Trivia, but I can confirm there were far too many phones out for a fair competition. Nevertheless, trivia and a headlining gig sounds like a good 48 hours to me. Isbell and his band were electric in Iowa City once again, and I hope its much less than 30 months before we see his return. Jason Isbell is touring throughout the rest of the year, you can find tickets here.  

The post Jason Isbell’s Loud Return to Hancher, and His Bronze Medal in Trivia appeared first on KRUI Radio.

The Iowa City Starbucks strike, which began in early December of 2025, ended on December 24 of 2025, making it the longest strike in the store’s history. While the store re-opened its doors following the strike, the workers are still fighting and encouraging consumer participation to ensure Starbucks meets their demands.

“We started a new campaign called Delete the App,” said Scheppmann, offering one way consumers can help support baristas. “So we’re asking people to delete the Starbucks app from their phone.”

By deleting the app, Starbucks customers affect the company’s revenue while not directly harming the workers.

There are plenty of other ways to support the strikes, too. The Starbucks Workers United website— which provides plenty of useful information on the strikes and how to get involved– encourages consumers to sign the “No Contract, No Coffee” pledge and boycott Starbucks until the workers’ demands are met.

Even though the practices causing the strikes remain, Starbucks workers maintain high morale. For one thing, workers know they have been noticed. With hundreds of stores closed for weeks (if not months), Starbucks cannot remain unaware of the situation.

Many of the strikes have also set records. The Iowa City strike lasted three weeks, making it the longest strike in the store’s history. For workers like Scheppmann, this record is a point of pride.

 “It feels good,” Scheppmann said. “My grandpa was a teamster, so he always had a healthy love for striking. I definitely feel that as well.”

And if there is no progress? Then the strikes will continue. But Scheppmann doesn’t worry about that– the community will support the striking baristas no matter what.

“The Union community in Iowa City is always down for a strike, whoever it is,” said Schepmann. “They’re always ready to support someone exercising their rights.”

The post Iowa City Starbucks Keeps Fighting Back with Open Doors appeared first on KRUI Radio.

Collaborating with University of Iowa’s Scope Productions, The Englert Theater brought Lip Critic back to Iowa City as a part of their Track Zero series. With the band’s unique and unconventional blend of various music styles and this being their second visit to the world city, it’s no surprise that they’ve quickly gained the cult following of punks, raver’s, alt kids, hip hop heads and music lovers alike all across Iowa. Joined by local powerviolence act Recess and punk rockers Ascended Master, it was bound to be a great show.  

Recess was the first opener and started the night off with some incredible energy. Lead singer Sir Anne Wrappe has dipped their toes in several forms of performance art including drag and burlesque acts which makes them a very unique but exciting hardcore front-man. This juxtaposes perfectly with Powerviolence’s usual style of fast paced, aggressive guitar solos and murky, sludgy bass riffs to make Recess really stand out amongst a sea of copy-cat metal bands. Another highlight of their performances for me was their undeniable chemistry as a group, from the consistent swap of vocalists to the way the drum fills compliment the guitarists, you can tell this is a group of highly skilled and experienced musicians. Excellent set and I can’t wait to see more from Recess, they don’t have any released music so make sure to check out a show from these rising stars in the Iowa City music scene!

Next up was Ascended Master, the “unc band” of the lineup. Due to how strong their performance was, I was surprised to find out that they’ve only been playing shows for the past few months, but it made more sense knowing how stacked the group was with music scene veterans. Namely their lead singer Oliver Weilein of City Council and BOOTCAMP fame. At one point in between songs he went around the crowd asking people what they would want to change about Iowa City and actually listening to their responses. It’s really great to see a local musician who’s so dedicated to uplifting their own community and just goes on to show why Oliver is such a local legend.

Even speaking exclusively about music, the set was such a blast, just punk bangers back to back with such a keen understanding of performance and crowd control. I think my favorite was a cover of Descendents iconic song Hope, with some really fun mic grabs and crowd pile ons throughout the track. Unfortunately they have no social media, so make sure to continue looking out for them popping up on some local flyers!

The simplest and most accurate way to describe Lip Critic’s music is experimental. The eccentric four man multi instrumentalist group combines elements of rock, hip hop, punk, electronic, and industrial music to make these incredibly produced tracks that are equally aggressive as they are danceable. This was reflected perfectly within this show’s moshpit which ebb and flowed between rave style dances and more traditional push pit moshing. 

You can’t help but shake ass to the grooveable rhythms of Toxin Dodger, thrash your head to The Heart and sing your lungs out to the choruses of Milky Max and In The Wawa (Convinced I Am God). And none of this would be possible without the band’s incredible stage presence. Their lead singer Bret Kaser is an absolute maniac who will do anything to bring up the crowd’s energy whether that’s running into the pit, bringing people on stage or screaming random things between sets. With such high energy performers it’s hard to not reciprocate that energy and want to move with them, which I believe everyone in the audience (me included) felt for the whole set. If you want to hear more about specific tracks, check out my review of their latest album Hex Dealer. If you love what you hear, definitely anticipate the group’s upcoming album Theft World, out on April 30th. But for now, thank you Lip Critic, for an amazing performance.

While not available for a full interview after the show, I did get the really great opportunity to have a conversation with the lead singer at the merch booth and here’s some of what he had to say.

Tarik: Hey thanks for a great set, really loved it.

Bret: Thank you man, thanks for the energy.

Tarik: Did you actually meet your wife in Iowa? (Referring to earlier in the show when he shouted between songs that he met his wife at Gabe’s)

Bret: Nah I don’t even have a wife.

Tarik: Wait what, why’d you say that then?

Bret: I don’t know, I just thought it’d make people excited.

Tarik: Do you always make up stuff like that during shows?

Bret: Yeah, just something funny that gets people going.

Tarik: I was gonna say, cause I think last time you were here you said you were going through a divorce.

Bret: Haha yeah, did you come to our show here with White Reaper?

Tarik: Yeah no it was so fun. I didn’t know who y’all were before the concert, and I came and you guys put on such a great show I had to come see you guys again.

Bret: Do a lot of people around here just kinda like coming to shows, even if they don’t know the artists?

Tarik: Yeah, a good amount of people, we got a pretty solid music scene.

Bret: Yeah that’s sick man, we really didn’t know Iowa City was like that before our first show here, but we were really sleeping on it, you guys go crazy.

Tarik: Thanks, y’all should come back.

Bret: Yeah, we definitely will next tour.

Tarik: When’s that gonna be?

Bret: Probably around fall after we release our new album. This was kind of just a mini tour to test out new songs live and create some hype around the album.

Tarik: Well I’ll definitely show up man, see y’all next time.

Bret: Yeah thank you!

And this conversation is where I found my story. I thought back on October 4th my first time seeing Lip Critic, and what I initially thought was gonna be an average night out with some fun music, but what turned into one of my favorite live music experiences and a newfound love for an extremely talented emerging group. All resulting from me just choosing to take a chance on seeing a lineup of bands I knew next to nothing of. Like Bret stated “People here just kind of like coming to shows, even if they don’t know the artists.” Similar to how Lip Critic took a chance on playing in Iowa City for the first time and now it’s becoming a tour staple for them.

I talk to music fans on a daily basis, many of which you would almost never catch at a local show. Usually saying something along the lines of “Well how do I know if I’ll like it if I don’t know the artists?” Well my question is what if you DO love it? It’s a common trend to see online music lovers post performances from their favorite artists at the dawn of their career. Playing to small crowds at local restaurants, venues and basements. A far cry from their later critical acclaim and global success. You’ll see these comments flooded with people talking about how much they wish they could’ve been there to see these amazing acts for cheap in such an intimate environment. Well what’s stopping you from doing that now? Every city is flooded with performances from talented, hungry young artists looking to make something special and one of them might just be a new favorite of yours. I found that with Lip Critic, and you can too.

The post Concert Review: Lip Critic, Ascended Master, Recess, and why you should go to local shows. February 19th at Gabe’s. appeared first on KRUI Radio.