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BottleRock 2024 Review

BottleRock 2024 Review

The 2024 edition of BottleRock Napa Valley brought three days of music, gourmet food and regional wines to the North Bay this Memorial Day weekend with headliners Pearl Jam, Ed Sheeran, Stevie Nicks, and more. Held during the holiday every year at the Napa Valley Expo, the music and food festival has become one of Northern California's premiere events kicking off the summer season. 

The first iteration of BottleRock was actually a five-day event in 2013 that took place earlier in the month, starting on May 8th and wrapping up on May 12th. With an estimated attendance of 120,000 over the five days, the event featured an array of classic rock, roots/Americana and alt-rock favorites including such name acts as Jackson Browne, the Black Crowes, Zac Brown Band, the Shins, Primus, The Avett Brothers, Joan Jett, Jane's Addiction, The Flaming Lips, Kings of Leon, the Black Keys, Alabama Shakes, Ben Harper, Violent Femmes, Café Tacvba and Rodrigo y Gabriela.

After dropping from the BottleRock Napa Valley lineup in 2021 due to continued Covid concerns, Stevie Nicks was due to return. That finally came to pass on a breezy day at the Napa Valley Expo on Friday, the opening day of this year’s music, food and wine festival.

The annual event kicked off in fine fashion with fewer attendees than in previous years, though that’s expected to change Saturday and Sunday, which are both sold out. On Friday, there was room to breathe and enjoy the many performers on stage or just soak up the upcoming summer.

Day 1 - Friday, May 24, 2024

Stevie Nicks

Nicks took to the JaM Cellars stage to Tom Petty’s “Runnin’ Down a Dream” in the waning daylight. Wearing all black, including fingerless gloves and sparkly black boots, she and her band got right to it with a cover of Led Zeppelin’s “Rock and Roll.” The rollicking song allowed the entire band to loosen up and go full tilt.

She kept mostly to the same songs she performed at her last Bay Area appearance, at Chase Center last December, though in a different order. Those songs were primarily from her Fleetwood Mac days and her 1981 solo album, Bella Donna.

During the hard-driving and synth-pop-tinged “Stand Back,” Nicks twirled around, with her dress in her hands. That was followed by a one-two punch of the poppy “Wild Heart” and the slower, more meditative “Bella Donna.” During this performance, she wore a royal blue cloak she said was the original from the back cover of the Bella Donna album, released in 1982. It was a sweet moment; probably sweeter for those who didn’t see her prior Bay Area concert, where it also made an appearance.

Stevie Nicks’ voice was not as powerful as in past years, which wasn’t unexpected, but she and her band found another gear for the performance’s highlight: a nearly 10-minute version of “Gold Dust Woman,” which began a loud singalong that “Dreams” somehow did not. The simmering 1977 song had an extended intro and outro, beautiful harmonization between Nicks and two backing vocalists, and a rocking release.

Not even the show’s second biggest highlight, “Edge of Seventeen,” matched its level of intensity. The band rounded out its set with the folky “Leather and Lace,” on which Nicks dueted with her vocal coach, Steve Real, before concluding with “Rhiannon” and “Landslide.”

Megan Thee Stallion

As night fell, Megan Thee Stallion commanded the Verizon stage with unapologetic energy. The grounds overflowed with fans and her silhouette strutted through a haze of red and white light, before she emerged clad in a striking pink sequined tutu and skirt, pink heeled boots and her hair cascading in voluminous curls. A new look!

She began with “HISS,” accompanied by dancers in coordinated pink ensembles. The atmosphere was one of excitement as Megan Thee Stallion hyped up the crowd. She sang hits like “Thot Shit,” “Freak Nasty” and “Freak Nasty.”

“Welcome to the motherfucking hot girls show,” she proclaimed with swaggering confidence.

With each pulsating beat and dance move (there was a lot of twerking), the stage came alive with pyrotechnics. At one point, she had left and returned dressed in white fur boots and a daring blue ensemble.

She belted out fan favorites like “Captain Hook,” “Supernova” and “Big Ole Freak.” Throughout, she exhibited magnetic stage presence. Even in the absence of collaborator DaBaby, her rendition of “Cash Shit” underscored her undeniable star power.

As the night progressed, she paid homage to her origins, acknowledging the “OG hotties.” Briefly segueing into an a capella snippet of “BOA,” she seamlessly transitioned into the pulsating bass of the full track. “Ride Or Die” followed suit, as Megan Thee Stallion shed her jacket and confronted detractors head-on, urging the audience to defiantly defy their haters.

St. Vincent

Singer-songwriter Annie Clark, otherwise known as St. Vincent, electrified her audience at the Verizon stage as she snarled into the mic during her opening song, “Down,” from her 2021 album, Daddy’s Home. Supported by Jason Falkner and Charlotte Kemp Muhl on guitar and vocals, Clark commanded the stage and occasionally picked up the guitar herself to display her own impressive chops.

Her set was a vibrant mix of new and old songs, transitioning seamlessly from “Los Ageless,” from Masseduction; to “Big Time Nothing,” from the just-released All Born Screaming; and “Surgeon,” from Strange Mercy.

“Hello BottleRock; happy chardonnay to you,” St. Vincent said as a greeting, several songs into the performance. She then dove into “Surgeon” and “Flea.” Her performance reached a crescendo with a heavy guitar and drum solo, eliciting enthusiastic cheers.

The energy shifted as she played “Broken Man,” and delivered more raw rock and roll.

“I think you’ll know this one,” she said as she launched into “New York.” She mingled with the crowd, walking in the pit between the general audience and VIP sections as she sang the song. The set concluded powerfully with “Born Screaming.”

Bebe Rexha

Bebe Rexha brought an underdog mentality to an absolutely stellar midday set on the JaM Cellars stage. The performance channeled her personal and professional frustrations into positive energy for a ferocious and determined effort. The set was mostly filled with hits, but also her own material and some she wrote for others.

“This song is ‘I’m a Mess,’ and it’s about me,” Rexha said early on. She kept up the conversation with fans, sharing her story, starting with her time as a teen songwriter: “My first ever placement was with a K-pop group.” She cautioned that it can sometimes be a tough job, as with the David Guetta track “Hey Mama,” which she performed. “They used my voice in the hook without even crediting me; most people didn’t even realize it was me,” she said.

Her voice was powerful and just about flawless. Her dancers boosted the energy, and her band delivered a top tier performance that infused elements of hard rock, hip-hop and soul. The new tracks included “I’m the Drama” and “Chase It,” the latter bringing a thunderous club-ready beat.

All Time Low

All Time Low brought relentless energy to their afternoon set at the Verizon stage. They kicked off with “Weightless,” followed by “Lost in Stereo.”

The band made excellent use of the stage, asking the crowd to clap, raise its hands in the air and, at one point, to hop onto each others’ shoulders. Many seemed happy to oblige. “All right, we’re starting to get a vibe cooking,” singer Alex Gaskarth said as he introduced “Perfect Day,” which he said he wrote for actress Reese Witherspoon.

Old favorites like “Something’s Got to Give” and “Monsters” turned into singalongs.

The second half of the set featured new songs like “PMA” and “New Religion.”

“I knew one day we’d be here,” Gaskarth announced after a few more fun antics like tossing their instruments across the stage and sharing a brotherly kiss on the cheek. “It was written in the fates.” All Time Low said their goodbyes and closed out with “Dear Maria Count Me In.”


Charley Yang, better known as Boywithuke, brought an eclectic spirit to his energetic afternoon set. The mask-donning Korean American bounced around and commanded the stage, starting, ironically, without a uke. “I have a confession to make,” Yang said. “This mic is not real.”

Yes, it turned out Yang’s actual microphone was under his mask, which had large golden circles for eyes. He joked that the fake mic, while not serving a technical purpose, looked better for the assembled photographers. The music had a slick, poppy swagger, recalling Twenty One Pilots.

Moving through tracks like “Two Moon” and “Migraine,” Yang kept up the pace and got the audience involved, while also adding commentary along the way. He also told stories about being in the studio, including making one track on which he recruited an outside producer (for the first time), just so he could get a very specific drum fill.

Akira Galaxy

Outfitted in black, Seattle-born singer-songwriter Akira Galaxy delivered a short set with aplomb. Accompanied by two guitarists and a drummer, Galaxy (her real name) performed all five songs from her EP. She started the set with “What’s Inside You” and “Wanna Be a Star.” A light breeze rustled the leaves behind the Prudential stage as Galaxy’s ethereal, husky voice cut through the dense percussion.

The band found their stride with “Silver Shoes.” Next up was her cover of Massive Attack’s “Teardrop,” which was as ethereal and moving as the original, and “Cosmic Touch.” The latter ballad faded out as slowly as it had begun. Akira Galaxy and her band concluded with “Virtual Eyes.”

Day 2 - Saturday, May 25, 2024

It may not have been Sunday, but the Church of Pearl Jam was in session as dusk fell over the Napa Valley Expo. It’s surprising it took as long as it did to get Pearl Jam to BottleRock. It’s as fitting a pairing of festival and band as you can find. The band arrived for the 2024 iteration of the festival—and so did Pearl Jam fans. There was no question who the majority of attendees were waiting on, judging by the mass of PJ T-shirts wandering the grounds.

Pearl Jam

The band took the stage to the ringing feedback of a guitar with the expanse of the JaM Cellars stage crammed shoulder to shoulder. Pearl Jam opened with “Lukin,” from 1996’s No Code. Donning a number 34 Gayle Sayers Chicago Bears jersey—a nod to his home— Eddie Vedder looked relaxed but was on his game vocally, following up with “Corduroy” and “Why Go.”

That song was “Wreckage,” a politically charged song from the band’s latest work, Dark Matter. It introduced a string of moments with political subtexts, including a soaring performance of “Daughter,” mashed up with Pink Floyd’s “Another Brick In the Wall.” Vedder make a lyrical change, as he’s been doing on tour, amending the line to, “Politicians/ Leave women’s bodies alone!”

Vedder noticed a fan holding up a sign announcing that she had been at the show at Limelight in New York in April 1992. He acknowledged her and quipped about the time that’s passed since.

After a stellar performance of hard-driving new track “Dark Matter,” the band dug into another classic, “Even Flow,” adding an extended jam onto the end. McCready lifted his guitar above his hand and nailed a solo playing behind his back.

Vedder offered a lengthier tale of the origins of “Waiting For Stevie,” speaking about a woman who was having trouble “finding her tribe” until she finally had a shared experience with the community she’d been searching for all along to gain acceptance, and looking back at those who’d treated her poorly to begin with. But he added an addendum: “The song is called ‘Waiting For Stevie,’ but what we’re all really waiting for is a chance to vote for Steph Curry for President,” he said to a roar from the crowd.

Pearl Jam closed out its main set with “Black,” “Running” and “Porch.” After a brief break, the band returned for an encore that included some unexpected twists.

The encore began with “Last Kiss” before Vedder brought actor Bradley Cooper on stage for a cover of Jason Isbell’s “Maybe It’s Time.” Cooper sat on a stool next to Vedder, who played guitar and sang. Cooper held his own, keeping up with Vedder’s iconic growl. Vedder passed out tambourines to nearby fans as the band finished out its set with “Crazy Mary,” “Do the Evolution,” “Alive” and another appearance from Cooper for a cover of Neil Young’s “Rockin’ in the Free World.”

Kali Uchis

Kali Uchis was outfitted with a skirt resembling extraordinary plumage. It ruffled as she sang the first verse of “Moonlight.” After the verse, Uchis’ transformation took place. Her backup dancers, who were clad in white, removed the skirt to reveal a shorter white dress beneath it all. She was then able to move across the stage unencumbered and sang “Telepattía” (“Telepathy”) and “After the Storm.”

For “Worth the Wait,” Uchis brought a young girl onstage. She directed her to sit in a chair while Uchis’ dancers swirled around her and laid across her lap.

Uchis played songs old and new in quick succession. Among them were “Muñequita” (“Dolly”) and “Labios Mordidos” (“Bitten Lips”), off her latest album, Orquídeas. Her collaborators on those and other songs were not in attendance, though they would’ve been great additions.

When she introduced “Te Mata” (“It Kills You”), Uchis got confessional with the audience. She talked about finding her wings and being sure of who she is in order to attract the right people in her life.

“Life is short,” Uchis insisted. “And that’s why you don’t need people in your life that are poisonous to you.” Uchis reflected on the idea of unconditional love on “I Wish You Roses.”


The Kid Laroi said he needed to see “full maximum energy” from the audience. He wore a T-shirt with the words “Life to the Saint” paired with camouflage pants and he jumped up and down while encouraging everybody to do the same during “Dima,” in the beginning of his set.

He introduced “Tragic” with an anecdote about a 2 a.m. run to Ben & Jerry’s, where he was recognized by fans who only knew him because of this song.

The Australian rapper played an unreleased song called “Goals,” which he prefaced by saying that he was in a much better and happier place these days. Later, during “Without You” he pointed the mic at the audience, motioning them to sing the last verse. “It’s my first time up here,” he said prior to rapping “Thousand Miles.” Another highlight was when The Kid Laroi brought a young fan up to the stage, who held up a sign asking, “Can I sing ‘stay’ with you?” written on it. Sure enough, the two sang part of “STAY” together.

Oliver Tree

Oliver Tree paid tribute to the city where he said he was born, declaring the show a homecoming.

“I was born at Napa State Hospital and went to Stone Bridge School just minutes from this venue!” Tree declared, definitely joking, since he’s from Santa Cruz. “I’m a local through and through.” Sure, we’ll take that as fact.

Tree also spoke of his entrepreneurial upbringing in the Valley. “I started my first wine business when I was 10 years old,” he said. “Most kids had lemonade stands. I sold wine on the corner until my parents shut down the business when I sold to the other kids.”

The set was high energy and kept the crowd bouncing and clapping throughout with tracks like “Miss You” and “Only One.” He and his bandmates had matching Starter-style jackets and massive denim parachute pants. The crowd responded when Tree strapped on a keytar to lay down a solo on “Bounce.”

It was also the artist that played prior to Tree, T-Pain, for which he shared the most excitement.

“I went to T-Pain’s house one time; he has a strip club IN his house,” Tree said.

Mixing in tracks like “Swing and a Miss,” “When I’m Down” and “Cowboys Don’t Cry,” the stories just kept coming for the charismatic singer. He spoke of the 30-hour flight he took the day prior from Kazakhstan (no mention of pubis farms) to get to Napa and the horse meat he was served in Kyrgyzstan.

“I try to eat the food of whatever country I’m in; don’t judge it until you try it,” Tree said.

Tree left the stage to the “Seinfeld” theme.

My Morning Jacket

Kentucky rock quintet My Morning Jacket delivered a roaring set at the height of the midday sun. The performance had several movements, from rock to folk and subdued Americana. It was tailor-made to enjoy from the comfort of a blanket in the faux grass and appreciate the musicality happening onstage.

Some songs included extended and intimate jams, with guitar or vocal interludes. MMJ opened with “Mahgeetah” and “Touch Me I’m Going to Scream Pt 1.” Vocalist Jim James was a versatile frontman, sometimes strapping on a guitar, other times attacking the stage without one.

By and large, My Morning Jacket let the music do the talking, leaving little to no banter in between songs. That allowed the momentum to keep building on tracks like “Spring (Among the Living)” and “Gideon.”

Sometimes, the band flexed its Southern rock muscle; other times tracks took on a groovier sound. Either way, MMJ offered a compelling performance, at one point covering George Harrison’s “Give Me Love (Give Me Peace On Earth).” The band continued with “Off the Record” and “Touch Me I’m Going to Scream Pt. 2.”

Even cooler, My Morning Jacket brought up the USC Marching Band for a set closer of “Wordless Chorus.” The musicians stood along the back of the stage until it was their moment to rise to the occasion and take the set home in rousing fashion.

Holly Humberstone

Holly Humberstone jumped right into her set with “Bottle Up That Feeling.” Sporting a green cutoff T-shirt paired with a gauzy black skirt, she said that it was a treat to be at BottleRock, and she urged everyone to simply enjoy the moment.

The performance included “Kissing in Swimming Pools,” from her latest album, Paint My Bedroom Black, and several songs like “Overkill” and “The Walls Are Way Too Thin” from 2022’s Can You Afford To Lose Me. Humberstone’s introspective songwriting shined through on “Vanilla” and “Antichrist.” The outros were soft and her voice was gentle and, at times, raspy.

She also showcased a few songs from her forthcoming album. The last portion of her set featured “Lauren,” “Flatlining” and “Scarlett.” She closed with the poignant “Please Don’t Leave Just Yet.”

The Aquadolls

Another Ohana Fest veteran act, The Aquadolls brought a brash and fun energy to the Truly stage. The trio delivered a spirited performance that ranged from aggressive punk rock to upbeat grunge. Donning a faded pink Fender, frontwoman Melissa Brooks had an infectious sarcasm and a youthful snarl to the set, which included tracks like “Wander” and “Burn Baby Burn.”

“This next song is from a Lindsay Lohan movie,” Brooks said before the band launched into “Take Me Away,” from “Freaky Friday.”

Day 3 - Sunday, May 26, 2024

It was just a couple of songs into Ed Sheeran’s headlining BottleRock set when he told a story of his first hit, “The A Team,” and how he got a pub to play the song over and over, hoping that one day someone would find the same passion that he had for it. He came up empty many times, but all that mattered was the time he didn’t. It’s a story that’s instructive to the type of performer that Sheeran is.

Ed Sheeran

Cut to what would have been the second song in the set, “Shivers.” Sheeran went through his looping process only to find his keyboard wasn’t working. Given he’s the only performer on stage, with a mic, guitar and the small keyboard, it’s the type of snafu that could grind a show to a halt. Instead, Sheeran barely blinked, quickly calling an audible to his tech. “You fix the keyboard, I’ll play something else; that’s how you know it’s all live,” he said.

That quick interaction defined Sheeran’s immense talent during his 90-minute set to close out BottleRock to an absolutely jam-packed crowd. He laid down some rules early on, explaining how loop pedals work and that all the sounds are created by him and deleted at the end of the night.

“I would like you to end this week with no voices,” he said. “I will sing in tune; you will sing as loudly as possible.”

Sheeran had to call a few audibles during the show, stopping mid-song during “I’m a Mess” to check on the welfare of some people in the front. On “Give Me Love,” he built up to an epic ending, adding a crescendo, having the crowd harmonize a high and low part in unison. Again, Sheeran tried his keyboard—to no avail. “I write a lot of songs, some of them never get released; I call those hard drive hits,” he said. “But some songs go to the other people.” One of those songs was Justin Bieber’s “Love Yourself,” which Sheeran adeptly performed while his “loop pedal [was] rebooting.”

The third time was ultimately the charm, and the keyboard was back. Sheeran gave a relieved thumbs up to his hard-working techs after he successfully got through “Shivers.” If not for his comfort in working on the fly, the set could have gone very differently. Instead, no one missed a beat, and had he not mentioned anything, the crowd may have not even known anything was wrong.

The Offspring

You’ve almost definitely already heard, but Ed Sheeran played a song with The Offspring. As Offspring frontman Dexter Holland told the story, the first CD Sheeran bought as a kid was an Offspring album, so he wanted to play “Million Miles Away,” which the band hadn’t played since 2016. That would presumably make Sheeran’s first CD 2000’s Conspiracy of One, if you need more trivia for your Ed Sheeran fan site.

But enough about the guest. It’s time to focus on the main event.

The Offspring played a raucous, crowd-pleasing show that probably got to everyone’s favorite of their songs. They said they’d play some old and some new songs, but there were only three songs from the 21st century, and one was a Sheeran special request. The rest were from their prime and, based on the number of people singing along to each one, their most popular.

They opened with “Come Out and Play” from Smash, which just turned 30 this past April, followed by “All I Want,” from next album Ixnay on the Hombre and the classic video game “Crazy Taxi.” Some bands start slow and lead up to the big hits. Offspring started there and just kept going.

After high-point-of-profanity “Bad Habit” and some redhead crashing the party, they got on to “Gotta Get Away” and one of their most recognizable singles, “Pretty Fly for a White Guy.” The latter had two wacky waving inflatable-arm-flailing tube men dressed as the titular white guy from the song’s video.

Rare for a non-headlining festival set, the Offspring had an encore: “You’re Gonna Go Far, Kid” from 2008’s Rise and Fall, Rage and Grace, and perhaps the biggest crowd-pleaser of an incredibly crowd-pleasing set, the classic ode to the worst relationship you’ve ever had, “Self Esteem.” It seemed that the entire crowd knew and shouted every word to the song.

Norah Jones

Singer-songwriter Norah Jones brought an impressive intimacy that’s difficult to achieve at a festival. It came at just the right time of day, when the heat was reaching its peak. Many in the crowd laid out on blankets and took in Jones’ stellar voice and uber-talented band in a relaxed setting, without the pressures of the crush. Jones spoke softly as she took the stage in a multicolored dress that had some similarities to the backdrop behind her. “Can you see me up here or am I ‘Where’s Waldo?’” she quietly said.

First sitting at her piano, Jones eased into the performance, announcing she would be leaning heavily on her new album Visions. Jones’ voice remains a revelation. Smokey and serene, it’s a delight to hear her do her thing. She kept the banter to a minimum, checking in with the crowd occasionally to make sure they were still with her. Jones played tracks like “Running” at the keys and strapped on a guitar for songs like “Queen of the Sea.” Worth noting was her band, which played with such an intricate nuance that managed to translate even from a distance. Her drummer in particular struck with such a light, yet focused touch, the rhythms were almost tactical in their precision.


L.A. dreampop trio Cannons brought a refreshing ethereal and atmospheric sound to the Verizon Stage, on an afternoon with heavier rock. Frontwoman Michelle Joy was reserved, but had a quiet confidence that made the set even more inviting. Guitarist Ryan Clapham and bassist Paul Davis laid down a shimmering musical backdrop. The spacious sound reverberated down everywhere, allowing Joy to take command on the vocals.

“The song is one of my favorites,” she said before kicking into “Can You Feel My Heart?”

Mixing in tracks like “Shadows,” “Bright Lights” and “Hurricane,” the band locked into a solid mid-tempo groove, perfect for the relaxed atmosphere and the people on blankets strewn across the lawn.

Joy led a singalong on “Crush,” encouraging the crowd to sing the chorus. The band is touring in support of its 2023 album, Heartbeat Highway.

The Beaches

Toronto quartet The Beaches brought some needed electricity in a spirited hour-long set. A little punk, rock and occasionally a little rootsy, it was a winning formula. The performance was lively, upbeat, and used the entirety of the stage. “Wine hangovers are the worst,” guitarist Kylie Miller said. “I’m ready to crush some wine grapes later in the day,” bassist Jordan Miller shot back. The interplay between the members and the crowd was half the fun of the set. “We just got in after playing Red Rocks,” Miller said. “That was a bucket list gig, and this is another…a wine bucket.”

The band was tight and energetic on tracks like “Me and Me,” “Fascination” and “Kismet.”

“Who’s excited for Ed Sheeran?” Miller asked midway through. “I’m actually using his in-ears [monitors] today.” To which guitarist Leandra Earl quipped, “Would you say they’re… the shape of you?”

The band continued with “Shower Beer,” with Miller and Earl performing dizzying synchronized spins with the rhythm of the song.

With a number of festival appearances scheduled during the day, the group joked about how busy it was, wondering if it’d also be performing a wedding along the way.

“Some of you haven’t experienced lesbian trauma, and it shows,” Earl said, introducing “Edge of the Earth.” “My therapist hates me.”

Below is a day-by-day listing of the acts who performed at BottleRock 2024.

Friday, May 24: 

Stevie Nicks, Megan Thee Stallion, St. Vincent, Nelly, Miike Snow, Bebe Rexha, Jessie Murph, All Time Low, Gogol Bordello, BoyWithUke, Chevy Metal, Loveless, Pete Yorn, Royel Otis, The Moss, Say She She, Chris Shiflett, Grace Bowers, ALEXSUCKS, The Takes, Fleece, Con Brio, Akira Galaxy, Sage Bava and Sanho

Saturday, May 25: 

Pearl Jam, Maná, Kali Uchis, The Kid LAROI, My Morning Jacket, T-Pain, Oliver Tree, Cold War Kids, Tower of Power, Holly Humberstone, The Record Company, Jack Kays, LaRussell, Momma, Celisse, Deep Sea Diver, Mondo Cozmo, John Cruz, The Alive, Moonalice, Linka Moja, The Aquadolls, Grace McKagan, Mama Said, DJ Umami and the Napa Valley Youth Symphony.

Sunday, May 26: 

Ed Sheeran, Queens of the Stone Age, Dominic Fike, Norah Jones, The Offspring, Stephen Sanchez, Cannons, Action Bronson, The Beaches, Stephen Marley, Colony House, The Soul Rebels feat: Talib Kweli, Monsieur Periné, Dehd, Bully, Windser, The Scarlet Opera, MonoNeon, Brittany Davis, Tors, Forrest Day, Jane Leo, Jared Harper, Naima, The Silverado Pickups and Sophia Zamani.

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