The Bowery Presents

[thebowerypresents]

Lip Critic – Music Hall of Williamsburg – July 16, 2026

Brooklyn electro-punk four-piece Lip Critic brought their second LP, Theft World, to Music Hall of Williamsburg on Thursday night for a spirited hometown show that included crowd-surfing and stilts.

Photos courtesy of Edwina Hay | thisisnotaphotograph.com

@eatsdirt

@thesearenotphotographs

[thebowerypresents]

Craig Finn and Patterson Hood – Music Hall of Williamsburg – July 12, 2026

A pair of wildly talented frontmen known for evocative songwriting and fiery live performances — each with a recent new solo album — the Hold Steady’s Craig Finn (Always Been) and Drive-By Truckers’ Patterson Hood (Exploding Trees & Airplane Screams) made the weekend last just a little bit longer when they brought their Devils in the Details tour to Music Hall of Williamsburg on Sunday.

Photos courtesy of Ehud Lazin | www.ehudlazin.com

[thebowerypresents]

DJ Premier & the Alchemist – Webster Hall – July 9, 2026

Webster Hall was packed on Thursday night for the NYC stop of hip-hop heavyweights DJ Premier & the Alchemist’s He’s the Preemo I’m the Chemist world tour.

Photos courtesy of Toby Tenenbaum | @tobytenenbaum

[thebowerypresents]

Louis Tomlinson – Madison Square Garden – July 8, 2026

Making his way across North America behind his “bright and bold third” LP, How Did I Get Here?, former One Direction member Louis Tomlinson dazzled the adoring crowd at MSG on Wednesday. 

(Louis Tomlinson plays Skyline Stage at Highmark Mann in Philly on Saturday night.)

(Louis Tomlinson plays TD Garden in Boston on 7/14.)

Photos courtesy of Ehud Lazin | www.ehudlazin.com

[thebowerypresents]

July is here and summer is in full swing. Check out our calendar, listen to our playlist and go see some live shows.

[thebowerypresents]

The Moldy Peaches – Carnegie Hall – June 26, 2026

Local anti-folk heroes the Moldy Peaches began making sweet music together more than 30 years ago. Following the release of their only studio album in 2001, they opened for the Strokes across the world before breaking up in 2004. Original members Kimya Dawson and Adam Green have since reunited a few times over the years, including when “Anyone Else but You” became a hit after being included on the Juno soundtrack in 2007. And they just did it again on Friday for a one-night-only intimate, acoustic show at Carnegie Hall.

Photos courtesy of Anthony Grant | instagram.com/gallerybytm

[thebowerypresents]

Of Montreal Put on a Show at Webster Hall

Of Montreal – Webster Hall – June 23, 2026

Most bands come through town and play a show, but it’s a much smaller number that actually put on a show, and it’s aprecious few that put on a show quite like Of Montreal. Kevin Barnes brough the latest incarnation of his long-running psych-pop outfit to Webster Hall on Tuesday night, putting on a hypersexual gender-fluid orgy of sight and sound as only he can. Opening with “Id Engager,” off their 2008 album, Skeletal Lamping, they almost instantly went full chaotic, with kaleidoscopic digital weirdness projected on the screen behind the stage, three figures in bodysuits engaging in quasi-choreographed movements, and the band igniting the crowd with a pulsing rhythm.

Somehow, the night only went up from there, Barnes mixing in new songs and old songs and bouncing around the stage with the same energy he’s been bringing to his live performances for decades. “Bassem Sabry” delivered a dose of disco clavinet while “Blab Sabbath Lathe of Maiden” laid down a hammer of dark bass and synth, Barnes hitting the high notes in counterpoint, the coda going full fuzz and distortion. Throughout the set, the troupe returned to the stage, each time festooned in psychedelic costumes impossible to describe in words. For all the spectacle, it was the music that had the audience moving: 

“20th Century Schizofriendic Revengeoid Man” was a heavy rock and roll, the crowd growing increasingly manic while some sort of Middle Earth creatures crisscrossed the stage and a screensaver from hell cast down on the stage, Barnes singing, “Why does everything seem fake? / Why does it all seem so unreal?” to punch home the point. 

Of Montreal dropped the fan-favorite “Bunny Ain’t No Kind of Rider” midway through, everyone in the room dancing and singing along in a frenzy. If you were going to guess a cover for them to play, I’m not sure the country standard “Tennessee Waltz” would have been the top guess, but when Barnes started waltzing with his dancers, dressed in some sort of otherworldly Day of the Dead masks and dresses, it kind of made sense. The encore drew exclusively from the seminal album Hissing Fauna, Are you the Destroyer?, now almost 20 years old, the band building to an extended swell of noise that seemed to consume the entire room in its guitar-bass-keys-drums reverberations, Barnes and Of Montreal proving that they don’t just know how to put on a show, but they know how to end one too. —A. Stein | @Neddyo

(Of Montreal play The Sinclair in Cambridge, Mass., tonight.)

Photos courtesy of Silvia Saponaro | @silvia_saponaro

@silvialovesmusic

[thebowerypresents]

Wilco and Yo La Tengo Cut Loose in Queens

Wilco/Yo La Tengo – Forest Hills Stadium – June 20, 2026

Wilco have been around long enough that they can easily transform into different bands. Sometimes the Chicago six-piece are a band for theaters, other times for large rock clubs, amphitheaters or even arenas. On Saturday night, they were a full-fledge stadium band, feeling quite at home in the concrete horseshoe of Forest Hills Stadium. They chose an opener who also fit the bill, their longtime friends — and local heroes — Yo La Tengo, who ended their warm-up set by mutating into different bands themselves: the intimate bedroom pop of “Autumn Sweater,” the vicious guitar meltdown of “Tom Courtenay” and then closing with the sweetly quiet “Our Way to Fall.” 

Wilco took the stage still basked in the sunshine of a beautiful day, jumping into “Handshake Drugs,” John Stirratt’s bass sounding especially massive, creating space for Nels Cline’s open-air guitar shredding, the band melting into an extended drone outro. Frontman Jeff Tweedy’s voice fully at ease floating on a warm breeze on “If I ever Was a Child,” Glenn Kotche’s drums shuffling alongside. The marathon set drew from Wilco’s gargantuan 30-year catalog, expertly flowing from one era to another, the crowd of old heads and newer fans nothing but smiles across the stadium, even more so as Tweedy jokingly bantered about the Knicks between songs.

“Bird Without a Tail/Base of My Skull” was an early highlight, starting quiet with Tweedy’s image-invoking lyrics front and center, then opening into a fiery extended stadium-size double-guitar jam before bubbling back quiet to close. Hearing many of the well-worn Wilco tunes, it was apparent that Tweedy has benefited from the foresight of writing songs his 2026 self would have no trouble carrying. “Via Chicago” was quite strong, the sweet nostalgia of a hometown and travel alternating with gnarly guitar-drum sounds.

That kicked off perhaps the strongest stretch of the night, which went from “Via Chicago” to “Impossible Germany” with Cline’s six-minute guitar solo that told as much of a story as Tweedy’s lyrics, and the crowd favorite “Jesus, Etc.” When the sun finally went down and Forest Hills went dark, Wilco shifted into full stadium-rock mode with big bleacher-rattling takes on “Walken,” “Kingpin” and the set-closing “I’m the Man Who Loves You.”    

It wouldn't be a Wilco show without an extended encore, and the band returned to explore more of their catalog, highlighted by “California Stars,” the audience raising cell phones to create a wraparound starscape that earned Tweedy's approval. After “Falling Apart (Right Now),” the band left the stage again, but the show didn't feel quite over yet. Like any good veteran touring rock band, Wilco had held back a little “best for last” from the ecstatic Queens crowd. Three musicians returned to the stage, but it wasn’t Wilco at all — instead it was Yo La Tengo launching into one of their longer, stadium-ready rockers, the instrumental “I Heard You Looking.” 

As the trio built their fireball of sound, the headliners joined in piecemeal until the stage was filled with musicians throwing themselves headlong into the growing wall of sound, eventually reaching its peak and receding. Not to be outdone, Kotche and Stirrat flowed the jam right into their own build-to-peak “Spiders (Kidsmoke).” Cline and YLT guitarist Ira Kaplan mixed krautrock with free jazz on either side of the stage on top of a double-drummer rhythm. Another explosive peak and an audience participation on the tune's main riff finished things off before the show closed, an ending worthy of a tennis stadium in Forest Hills or any other sized venue you put them in. —A. Stein | @Neddyo

Photos courtesy of Ellen Qbertplaya | instagram.com/qbertplaya

[thebowerypresents]

Goose – Madison Square Garden – June 19, 2026

Having just released their sixth LP, Big Modern! — “their most accessible and hook-filled album yet” — Connecticut jam stalwarts Goose kicked off a highly anticipated two-night run at Madison Square Garden on Friday with two dynamic sets of originals, covers and sit-ins.

Photos courtesy of Silvia Saponaro | @silvia_saponaro

@silvialovesmusic

[thebowerypresents]

The Avett Brothers and Mike Patton Present AVTT/PTTN at Kings Theatre

AVTT/PTTN – Kings Theatre – June 12, 2026

AVTT/PTTN — the thrilling combo of the Avett Brothers and perennial rock-and-then-some trickster Mike Patton — are on record saying their unlikely collaboration works because of mutual admiration that they discovered, picked up and ran with. They hit it off, in other words, and that much is evident in their self-titled 2025 album, which at times sounds like a mutant version of the “classic” Avetts country-soul sound, and at times sounds like the musical polyglot Patton unleashed to help deliver twang, heavenly harmonies and more of an “ancient ox driver song” vibe than a “get spacey and skronky” vibe. 

But what’s especially thrilling is how far their collaboration further transports in the live setting. At the gorgeous Kings Theater on Friday, the combined band — touring as an expanded unit that swells from as few as two to more than 10 players depending on serving the song — wasn’t merely content to safely and sturdily play the record, although that would have been fine, and perhaps been a sign they don’t want to push it too far, for fear of overdoing it or over-burdening it. But no, instead, they got after it, infusing that mutant sound into everything from Avetts staples — including “Pretty Girl from Chile,” “Satan Pulls the Strings” and “Laundry Room,” the latter’s reliably lively hoedown coda getting raucously blown out — to chestnuts from throughout Patton’s vast catalog spanning Faith No More (“Ashes to Ashes”!), Mr. Bungle (“Retrovertigo”!) and other associations, to cover songs both fitting because they made sense or because they were less likely but — don’t-ye-have-little-faith — they worked.

The country classic “King of the Road” got trussed up with Mr. Bungle’s “Vanity Fair.” The Dean Martin twang-crooner “My Rifle, My Pony and Me” got an earnest reading — their giddy grins plastered throughout showing how much they all just plain love the song. The ancient hymn “It Is Well with My Soul” was a beautiful benediction at the end of an extended encore segment that also included “Froggie Went a-Courtin’” (part-sung in Korean) and “Cigarettes, Whiskey and Wild, Wild Women.” Even the Avetts’ own “I and Love and You” — with its tender “Brooklyn, Brooklyn, take me in” chorus — got a touch of Patton scuffing without scraping its delicate heart. 

They found the through line in all of it, allowing for a little mess to keep it interesting and for potential boundaries to stay flexible. The result was a sonic feast, spanning two hours and filling Kings’ every gilded nook and cranny, and could have easily been two hours more. Here’s hoping they’ve found enough fun to come back for another round of this. —Chad Berndtson | @cberndtson

(The Avett Brothers play Elmwood Park Amphitheater in Roanoke, Va., on 9/5.)

(The Avett Brothers play the Westville Music Bowl in New Haven, Conn., on 9/17.)

Photos courtesy of Edwina Hay | thisisnotaphotograph.com

@eatsdirt

@thesearenotphotographs

[thebowerypresents]

INJI – Webster Hall – June 12, 2026

Philadelphia (by way of Turkey) pop singer-songwriter INJI’s North American tour in support of her debut mixtape, SUPERLAME, brought her to a packed Webster Hall on Friday night. 

Photos courtesy of Lexi Yob | @lexiyob

[thebowerypresents]

Kevin Morby Brings Takes Brooklyn Steel on a Journey

Kevin Morby – Brooklyn Steel – June 10, 20026

Sometime on Wednesday afternoon, Kevin Morby started posting to social media, imploring people not to change their plans to come to his show at Brooklyn Steel to watch the Knicks play game 4 instead. Whether he was serious or just being cheeky, Morby really shouldn’t have been worried. New York City has always turned out for him, Brooklyn even more so. His NYC fans know that tracks like “City Music” (which popped up halfway through the show) and “Harlem River” (which didn’t make the cut this time around), songs that were written in and are about the city, hit a little bit harder and sweeter at local shows. So, it was no surprise that the room was enthusiastically full when Morby and his band took the stage. 

That said, the current tour is promoting his latest album, Little Wide Open, which is explicitly about the middle parts of the country and the traveling in between them. The stage itself was adorned in sunflowers, a visual reference to Morby’s home of Kansas, aka the Sunflower State. But there was plenty of lyrical imagery as well in the first third of the set which drew exclusively from the new record, with songs like “Die Young,” with its recounting of memories in random middle-American locales and the “old cow town in the Bible Belt” in “Javelin.”

The music balanced the cross-country mood as well, Morby and his band exploring an impressive dynamic range from quieter lyric-centric passages building to massive swells of rock and roll, textures provided by flute, sax and violin in addition to electric guitars, bass and drums. Longtime bandmate Meg Duffy (Hand Habits) joined in at several points throughout the show, adding extra guitar zing to the rocking moments, like in “Rock Bottom,” and also providing a three-part guitar harmony effect with Morby and lead guitarist Liam Kazar on songs like “100,000” and that NYC-tribute “City Music.” 

To top off the New York City vibes, Morby brought out a local, Hamilton Leithauser, to sing “1000 Times” midway through. As the night went on, the Knicks score was not looking good (only temporary!), but the mix of songs from all phases of his career was a winner. The set ended up with “Destroyer” with Morby on piano and the band building from almost nothing to full crescendo and then ultimately the new release’s title track, singing “To be everywhere all at once,” the band and the crowd simultaneously in a packed club in Brooklyn and traveling to the quieter places more far-flung. —A. Stein | @Neddyo

Photos courtesy of Katie Dadarria | instagram.com/dadarria

[thebowerypresents]

Dave Matthews Band – Forest Hills Stadium – June 10, 20026

Out on summer tour, the Dave Matthews Band returned to Queens on Wednesday for a sold-out show at Forest Hills Stadium.

Photos courtesy of Joe Papeo | www.irocktheshot.com

[thebowerypresents]

Babyface Ray and 42 Dugg – Racket – June 9, 20026

Detroit rappers Babyface Ray and 42 Dugg rolled into the Meatpacking District on Tuesday night with their 4 the Trenches tour for a spirited headlining show at Racket.

(42 Dugg and Babyface Ray play The NorVa in Norfolk, Va., on 6/21.)

Photos courtesy of Marc Millman | www.marcmillmanphotos.com

[thebowerypresents]

Pete Yorn’s Debut Album Turns 25

Pete Yorn – Music Hall of Williamsburg – June 8, 2026

In 2001, Harry Potter and the Sorcerer’s Stone, The Lord of the Rings: The Fellowship of the Ring and Shrek dominated the cinema box office. Sadly, we will never forget 9/11. The first iPod was released and reinvented how we listen to music on the go. R&B and rock dominated the music landscape with Pete Yorn’s debut long-player, Musicforthemorningafter, surging in the charts. Starting from his 1998 working debut, Thenightbefore, L.A. producer R. Walt Vincent encouraged Yorn to rework the album away from its alt-country roots and toward the use of digital recordings. Musicforthemorningafter remains an indelible marker of the early aughts soundtrack, and rightfully, the New Jersey native celebrated its 25th anniversary with a tour that landed at Music Hall of Williamsburg on Sunday night.

Donning a trucker hat, the singer-songwriter confessed that it was his first time playing Music Hall and opened his solo acoustic set with “All At Once,” from his 2003 sophomore album, Day I Forgot. He surprised fans with a cover of the Smiths’ “There Is a Light That Never Goes Out,” before getting down to the business of a 25th anniversary. The debut- album celebration felt much like an episode of VH1 Storytellers, in which Yorn told stories about the making of the songs on his seminal record, which he did not play in track order, but preferred a shuffled arrangement. Sharing how he recorded “Closet” in a studio that housed a black widow spider, many of the tracks were produced there. One not laid down in the “black widow,” “Simonize,” was tracked in the seedy midtown Times Square of the late ’90s. 

The set was peppered with treats from a prelude of Coldplay’s “Yellow” into “Sense” to “On Your Side” paired with an interlude of Fleetwood Mac’s “Landslide.” Recounting the story of signing with Columbia Records in 1999 (noting that the Knicks and Spurs were in the Finals playing each other then), Yorn played “Life on the Chain” for the A&R representative, Will Botwin, and was offered a deal on the spot. Closing the Musicforthemorningafter portion with his cover of Bruce Springsteen’s “Dancing in the Dark,” he teased the cover with a snippet of Olivia Rodrigo’s “Drop Dead.” 

Yorn’s engaging stories stretched his set more than two hours. They included an extensive encore of 2003’s “Crystal Village,” latest-single “All the Beauty,” from his forthcoming new album, “Elizabeth Taylor”off 2021’s Hawaii, and a cover mash-up of T. Rex’s “Children of the Revolution” with the Smiths’ “Shoplifters of the World Unite.” In the final moment, Yorn dedicated the last song, “Burrito,” from his sophomore album, to his late father. —Sharlene Chiu | @shar0ck

(Pete Yorn plays The Sinclair in Cambridge, Mass., on 9/10.)

Photos courtesy of Sachyn Mital | www.sachynmital.com

[thebowerypresents]

Synthony – Terminal 5 – June 5, 2026

The New Zealand symphonic-pop Synthony’s musicians, vocalists and DJs lit up Terminal 5 on Friday night with reimagined electronic dance anthems and wild visuals.

Photos courtesy of Ken Grand-Pierre | www.kenamiphoto.com

[thebowerypresents]

Chris Lake – Under the K Bridge Park – June 5, 2026

English EDM producer-DJ Chris Lake kicked off three weekend shows at Under the K Bridge Park with what blurred the lines between a Friday night dance party and a Knicks watch party.

Photos courtesy of Andrew Pintado | @drooshotya