NO LAW presents another edition your favorite lady, queer, non binary dance party! Featuring DJ Carmine P. Filthy playing music to keep you moving all night.
Performances by fabulous drag queens, beaux queens and burlesque dancers: Kat Snatch Grand Mafun
and more to come!
Venue is 18+. $10 at the door to take care of our DJ's and half of funds will go to Sexual Trauma Awareness & Response Center. NOTAFLOF! Gender neutral bathrooms. Accessibility note: three stairs to get from front bar to dance floor.
Not gay as in happy, queer as in f▼ck you. Cum as you are. We know and we love you.
Boogarins’ Fernando “Dino” Almeida and Benke Ferraz began playing music together as teenagers in the central Brazilian city of Goiânia – creating psychedelic pop in their parents’ gardens, filtering their country’s rich musical history through a very modern lens. By the time the group’s home-recorded debut LP, ‘As Plantas Que Curam’ (2013), was released worldwide, the band had recruited a proper rhythm section and were developing a name around Goiânia. Soon after, the group was booking regular gigs in São Paulo and across the country.
Sombrou Dúvida, the band’s fourth full-length release, is a question. A play on words in Boogarins’ native Brazilian Portuguese. It’s a contraction of “Sombra ou Dúvida”, the title track of the album, which translates as ‘Shadow or Doubt’. There might seem to be a darkness to the question, given that both choices aren’t exactly cheery. Yet, Dino, the smiling, Afro-donned singer of the group tells us that “shadow” refers to a feeling related to your comfort zone, whereas doubt is the uncertainty that hits people and leads them to follow their instincts.”
Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar have pushed him to the forefront of a crowded scene. Back home, he’s celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he’s earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy that utterly sets him apart.
Mdou Moctar hails from a small village in central Niger in a remote region steeped in religious tradition. Growing up in an area where secular music was all but prohibited, he taught himself to play on a homemade guitar cobbled together out of wood. It was years before he found a “real” guitar and taught himself to play in secret. His immediately became a star amongst the village youth.
When asking Charlotte McCaslin to describe Roselit Bone’s new record, Crisis Actor, with one word, she responds, “fucked.”
After several years of touring the US, the band has gone from relative unknowns to somewhat cult status, having perfected an infectious and powerful live show that falls somewhere between a demented Roy Orbison and an angelic Gun Club. Their anthems of loneliness, alienation, and triumph have allowed them to artfully navigate through a cluttered underground scene, captivating audiences and transfixing crowds in a nightly conversion ritual. On their newest release, she paints a picture of a world that is truly “fucked,” lacing vignettes of systemic violence, sexual confusion, and class warfare with a wry, suicidal humor straight from the gut of America. “I didn't see the ascendancy of fascism as anything new here, so my freshest feelings of disgust were toward anyone who could point their finger in one direction and walk away with a smirk on their face.” When asked how the punk influence fits in, Charlotte smiles, “I don't align with any genre. For me, the essence of punk is in dealing unflinchingly with the misery and violence of lower-class city life, coming out alive, and wearing your scars proudly.”
“We went through a pretty dramatic shift with this record,” says Seratones
frontwoman AJ Haynes. “The band lineup, the creative process, the sound: all of it
changed in ways that really reflected our growth and evolution.”
One listen to ‘Power,’ Seratones’ spectacular sophomore album, and it’s clear just
how much of an evolution has taken place. Produced by Cage The Elephant guitarist
Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk
of their critically acclaimed debut for a timeless brand of gritty soul, one that takes
its cues from vintage Motown and Stax even as it flirts with modern synthesizers and
experimental arrangements. Haynes’ captivating voice remains front and center here,
but her delivery this time around is more measured and self-assured than ever before,
a beacon of confidence and clarity amidst a sea of social and political turmoil. Perhaps
even more marked than the any sonic development on the record, though, is Haynes’
lyrical turn, which points her gaze inwards for the first time as she grapples with race,
gender, and justice, writing with an unfiltered honesty that at once exudes strength
and vulnerability, hope and despair, beauty and pain.
“I learned to tap more into my own stories with these songs,” says Haynes. “I came to
recognize that I have this lineage and these inherited experiences that are beautiful
and worthy of exploration. The more personal my writing got, the more deeply I was
able to connect with people.”
Seratones have been chasing those kinds of deep connections since 2016, when they
first rocketed into the national spotlight with their breakout debut, ‘Get Gone.’
Rolling Stone called the album a “fitful collision of punk, soul and jazz echoing out of
a shed strewn with whiskey bottles,” while Pitchfork praised the collection’s “soulful
grease and punky grit,” and NPR hailed it as “lean and compact, with an impressive
assortment of anthemic stompers.” The music earned the band dates on the road with
artists as varied as St. Paul & The Broken Bones, Thao & The Get Down Stay Down, The Dandy Warhols, and Drive-By Truckers, along with festival slots from Hangout to
Newport Folk and invitations to perform on national television and at NPR’s Tiny Desk.
“I was having nightmares every night, thinking, ‘Wow, they’re going to hate this,” says JD
When he talks about his new album, Undivided Heart & Soul, there’s no glimmer of self-adulation, or even the confidence one might expect of a veteran artist. Instead, there’s a snapshot of McPherson’s creative process bringing the record to life, a journey filled with fear and change, then boldness, and, eventually, catharsis.
The best rock music has a story to tell. This record chronicles a series of upheavals, frustrations, roadblocks, and kismet—a cross-country move, failed creative relationships, a once-in-a-lifetime career opportunity, and learning to love making music again by letting go.
McPherson calls moving his family from Broken Arrow, Oklahoma, to East Nashville a decision based “on opportunity” and one he was reluctant to make but notes the profound influence the city has had on his new crop of songs.
“Up to this point, I thought I knew what I was doing with songwriting, that I don’t do this or that,” McPherson says. “Writing with people who co-write for a living…maybe I saw myself as John Henry, and them as the steel-driving machine.”
Along with collaborations with fellow Oklahoman Parker Millsap, Butch Walker, and Aaron Lee Tasjan, McPherson’s selections for Undivided Heart & Soul include many deeply personal themes: “Let’s Get Out of Here While We’re Young” shares writing credits with longtime bandmate Ray Jacildo and McPherson’s wife Mandy. He also delved into character profiles, both fictional and based on real-life experiences, stories McPherson has held onto but never thought of as fodder for songwriting, such as the Las Vegas bus station interlude detailed in “Style (Is a Losing Game).”
“That seems like a pretty normal thing for a singer-songwriter to do, to write about personal experience, but I really have never done that,” McPherson says. “It felt great but it also was tough at the same time. The thing is, John Henry is trying to beat the machine because he’s in awe of it. It was a lot of me saying, ‘You’re really good at this, and I have a hard time doing it.’”
Sons of Mali, musical refugees, groundbreaking artists, virtuoso performers, survivors. Unforgettable & undeniable. Songhoy Blues are the future of African rock n’ roll.
Steeped in the deep traditions of classic Malian music & desert blues fused with a youthful & super-charged sound of today, these 4 young men from Timbuktu continue marching, playing & dancing their way into the hearts & minds of music fans everywhere with their electric, eclectic & kinetic songs.
The band’s sophomore album, 2017’s critically-acclaimed RESISTANCE, solidified them as a group to watch, and they’ve followed it up with consistent live touring on 5 continents, helping to make them a force to reckon with.
2019 sees the release of their new album and expectations are high, for good reason –
Songhoy Blues make music that is unique, exciting, contagious & paradigm-shifting. The band already counts such luminaries as Nile Rodgers, Gary Clark Jr., Run the Jewels, Iggy Pop, Nick Zinner, Matt Sweeney & Will Oldham as fans, and are poised to put their musical footprint down for years to come.
Songhoy Blues will be supporting their new album with live dates across N. America this fall, setting the stage with month-long residencies in New York City (April) and Los Angeles (May)
Most recently, the band completed a sold out run of UK dates, recorded a live session for BBC 6 Music; filmed an episode of the new UK TV show ‘Noughts & Crosses’ in South Africa (where they’re featured performing in one of the main scenes); are featured in a new photography exhibit called ‘My Rockstars’ by Hassan Hajjaj at La Maison Europeenne de la Photographie in Paris; and will be collaborating with UK artist Andy Morgan on a multimedia exhibition called ‘Music & Conflict’ at the Imperial War Museum, which debuts June 2019.
The band are also proud spokespersons for the charity WaterAID, and have helped to raise money & awareness toward providing relief in their native Mali. They will be appearing in an upcoming documentary on climate change in the Sahara; and were featured in the award-winning documentary “They Will Have to Kill Us First”, about the plight of musicians in war-torn Mali (https://www.theywillhavetokillusfirst.com)
Eric Schmalenberger, Trixie Minx, and House of YES are proud to be returning with another edition of BLUNDERLAND at One Eyed Jacks in New Orleans!! A delectable evening of variety with all the whimsical, surreal, and psychedelic you can handle, served HOT and ready to dazzle you. Leave all expectations at the door and come be titillated. Drawing from the finest burlesque, circus, cabaret, and queer scenes BLUNDERLAND is a trip down a rabbit hole of scintillating surprises you won't soon forget. This show is hand picked, juicy, and super fresh for your viewing pleasure. This is not a show for the meek and we serve nothing mild on this stage. Please come prepared for anything!
After 3 years of blockbuster shows at its home base House of Yes in Brooklyn, Blunderland headed down south to bring its special brand of magic to New Orleans for a series of legendary shows and WE ARE COMING BACK!!! With a mixture of the best local talent as well as some tasty favorites from our New York family of wonder humans we are ready to wow you.
Including performances by Elena Delgado
The Brides Faux Pas and Aurora North Trixie Minx Apostrophe
more local lovelies and....
IN HER NEW ORLEANS DEBUT THE LEGENDARY!! Amanda Lepore
First Show Doors at 7:30p Show at 8p
Second Show Doors at 10p Show at 10:30p