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Untapped Festival, Texas’ hugely popular craft beer and music festival, returns to Dallas on Saturday, November 7 and officially kicks off NTX Beer Week. Taking place at Dallas’ iconic Fair Park, Untapped Festival expands its footprint with a new location.

Tapping a fantastic and diverse music lineup that spans three stages, Untapped Festival Dallas features headliners The Flaming Lips, Dr. Dog, Cloud Nothings, Elle King, The Pharcyde, The Mowgli’s, Lights, Steve Gunn, UME and Dallas local favorites Valise and Birds of Night.

This year, Untapped Festival Dallas introduces a few new perks including a brand new super VIP ‘Stout Package’ giving festivalgoers access to the Untapped Clubhouse, exclusive stage viewing area, and for the first time, an open bar featuring beer, wine, and spirits plus food from some of Dallas’ best purveyors including Luck, Scardello Artisan Cheese, Meddlesome Moth, East Hampton Sandwich Co., Glazed Donut Works, and much more.

Untapped Festival Dallas, Texas’ flagship beer and music festival started in 2012 and has since expanded to Fort Worth, Austin, Houston (September 12), and, for the first time this year, San Antonio (November 21). Untapped Festival encapsulates the eclectic craft beer culture while highlighting both emerging bands and established music acts. Untapped Festival Dallas will feature 100 breweries and over 400 unique craft beers. The selection of brews will reflect the high quality and special selections Untapped Festival partygoers have come to expect.

Below you can find the schedule, maps, and more detailed info on the artists that we are most excited about experiencing. We hope to see you there!


Untapped Festival Dallas

Saturday, November 7, Fair Park

2:30 p.m. to 10:30 p.m.


Flaming Lips, Dr. Dog, Cloud Nothings, Elle King, The Pharcyde, The Mowgli’s, Lights, Steve Gunn, UME, Valise, and .

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The Flaming Lips


For Fans Of: Animal Collective, Beck, Stardeath and White Dwarves, Neutral Milk Hotel, Modest Mouse, Sonic Youth

The Flaming Lips are an American rock band, formed in Norman, Oklahoma in 1983.

Melodically, their sound contains lush, multi-layered, psychedelic rock arrangements, but lyrically their compositions show elements of space rock, including unusual song and album titles—such as “Psychiatric Explorations of the Fetus with Needles”, “Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber)” and “Yeah, I Know It’s a Drag… But Wastin’ Pigs Is Still Radical”. They are also acclaimed for their elaborate live shows, which feature costumes, balloons, puppets, video projections, complex stage light configurations, giant hands, large amounts of confetti, and frontman Wayne Coyne’s signature man-sized plastic bubble, in which he traverses the audience. In 2002, Q magazine named The Flaming Lips one of the “50 Bands to See Before You Die”.

The group recorded several albums and EPs on an indie label, Restless, in the 1980s and early 1990s. After signing to Warner Brothers, they scored a hit in 1993 with “She Don’t Use Jelly”. Although it has been their only hit single in the U.S., the band has maintained critical respect and, to a lesser extent, commercial viability through albums such as 1999’s The Soft Bulletin (which was NME magazine’s Album of the Year) and 2002’s Yoshimi Battles the Pink Robots. They have had more hit singles in the UK and Europe than in the U.S. In February 2007, they were nominated for a 2007 BRIT Award in the “Best International Act” category. By 2007, the group garnered three Grammy Awards, including two for Best Rock Instrumental Performance.

On October 13, 2009 the group released their latest studio album, titled Embryonic. On December 22, 2009, the Flaming Lips released a remake of the 1973 Pink Floyd album The Dark Side Of The Moon. In 2011, the band announced plans to release new songs in every month of the year, with the entire process filmed. In 2014, they began to collaborate with Miley Cyrus, which has lasted into 2015.


Cloud Nothings


For Fans Of: Bleached, No Age, The Orwells, Japandroids, Jeff The Brotherhood, Beach Fossils

Cloud Nothings was founded in a Cleveland basement, the one-man recording project of Dylan Baldi, an unassuming, then 18-year-old student of song with a breathtaking ear for melody. Prolific from the start, Baldi’s early work was rough but immediate: crudely recorded, spring-loaded spasms of Buzzcocks-informed pop that quickly found an online following among the lo-fi-inclined. When an opportunity presented itself to open a small show in Brooklyn, Baldi abandoned a still-in-progress final project to be there. The gamble paid off — he’s been touring ever since, using every available break to write and record more.

In 2010, Carpark unveiled Turning On, a retrospective introduction that combined early 7″ singles and the full-length debut (a limited release on cassette and vinyl) from which it took its name. The following year, Cloud Nothings made its proper Carpark debut with a thrilling self-titled LP that found Baldi in a studio for the first time, shedding the many layers of hiss and distortion that had once obscured (or enhanced) his every sugary hook. What followed was an unexpected breakthrough, 2012’s Attack on Memory, an album that very loudly (with the help of producer Steve Albini) announced the arrival of Cloud Nothings as the sound of more than just Baldi: Caustic and gargantuan, it marked the first time our young hero wrote with and for his longtime touring band, drummer Jayson Gerycz, bassist TJ Duke and since departed guitarist Joe Boyer. Touring intensified, rock critics slobbered, and the ceiling was raised considerably.

Enter yet another first: the highly-anticipated follow-up. Here and Nowhere Else is the sound of Baldi further realizing his potential not just as a collaborative bandleader but a singer as well. The sometimes frightening interplay that galvanized its predecessor is refined here, Baldi’s cyclonic guitar parts and Gerycz’s seismic drumwork more tightly clenched and nuanced than they’ve ever been before. It’s an album every bit as ferocious as what we’ve recently come to expect — only smarter.

In the Summer of 2015, they released a new joint record with Wavves titled No Life For Me.


Dr. Dog


For Fans Of: Deertick, Heartless Bastards, Blitzen Trapper, My Morning Jacket, Givers, Cults

Long known for their must-see live shows, Dr. Dog have lately been rather quiet on the touring side of things. Asked if they were getting a little weary of being on the road, front man Toby Leaman laughs, “I’ve never been busier in my life; I can’t wait till we’re out on tour and just playing shows”.

After releasing a live album at the top of 2015, Dr. Dog immediately began an intense collaboration with The Pig Iron Theatre Company, setting out to present their legendary (though still unreleased) 1999 album, The Psychedelic Swamp, in theatrical form. With a cast of 30 and an oversized production budget, the performances amazed both rock fans and theater-goers alike, the Philadelphia Inquirer’s pop critic called it “Ingenious” and “Full of heart and soul.” The band is currently in the studio where they will remain for the rest of the year before spending the first half of 2016 on the road.


The Mowgli’s 


For Fans Of: Fitz and the Tantrums, The Lonely Forest, Royal Teeth, Family Of The Year, Youngblood Hawke, Sleeper Agent

4 childhood friends from the San Fernando Valley in Los Angeles, augmented by 3 mid-western transplants, The Mowgli’s are a quintessential California band. Inspired by the magnetism of San Francisco, the grind of Los Angeles and the serenity of the Big Sur Coast, their songs are a joyous revival of rock n’ roll, a twisting indie-folk dance and a heartfelt protest ballad.

Sliding from indie pop to country and a host of genres in between, the band evokes modern artists such as Fun., Grouplove and Edward Sharpe And the Magnetic Zeros, whilst having their roots in the music of Neil Young, The Byrds, The Beach Boys and Fleetwood Mac.

Part 60’s Laurel Canyon, part 70’s Venice Beach and part 10’s Silverlake, the band and the harmonies are held together by their message of universal love, peace and the belief that the highest form of consciousness is achieved by togetherness and unity.

Uplifting, collaborative, joyous and communal, their songs are a walk through their life thus far: Meeting each other (“Hi Hey There Hello”), experiencing together (“San Francisco”, “The Great Divide”, “I’ve Been Around”), fighting and making up (“Colin’s Song”), emerging stronger (“Carry Your Will”, “We Are Free”) – their message is finding a foothold with fans from every walk of life, bringing people together under one roof to celebrate each other.

Love is all you need. It’s been said many times and many ways of course, but it’s truer now than ever.

When The Mowgli’s first landed on the scene, their message of positivity and love resonated with audiences everywhere. The group’s 2013 major label debut, Waiting for the Dawn [Photo Finish], debuted at #4 on the Billboard Heatseekers Chart and yielded the hit “San Francisco.” Following its release, the seven-piece — Colin Louis Dieden [vocals, guitar], Katie Jayne Earl [vocals, percussion], Dave Appelbaum [keyboards], Josh Hogan [guitar, vocals], Matthew Di Panni [bass], Spencer Trent [guitar, vocals], and Andy Warren [drums] — performed on Jimmy Kimmel LIVE!, The Tonight Show with Jay Leno, CONAN, Watch What Happens Live, and more. Between headline tours and runs supporting everybody from Walk The Moon to Manchester Orchestra, they even cut a song for the Relativity Media hit film “Earth To Echo.” Along the way, their interpretation of love became even clearer, and it defines their sophomore outing, Kids In Love, released in 2015.

“Our first album essentially said, ‘What’s up everyone? We’re The Mowgli’s, and we believe love can change the world,” explains Katie. “Over the past couple of years, we really came to terms with who we are as a band. With Kids In Love we’re exploring the intricacies of love. It’s such a broad concept. This time around, we get into intimate love, personal love, as well as universal love. We’ve found art is the best vehicle to ponder what this really means.”

“Before, the concept was painted in very broad strokes,” Colin goes on. “Our intention was to start a movement and a culture around what we do. We put all of that under a microscope on this album and talked about personal experiences and stories, the lack of love, and finding it again.”

“We’ve learned so much about the business, ourselves, and this message,” adds Josh. “We’ve become more direct. It’s a little wiser.”

In order to properly convey that sentiment, the group teamed up with producer Tony Hoffer [The Kooks, Silversun Pickups, Fitz & The Tantrums] in his Los Angeles studio during the summer of 2014. With Hoffer at the helm, they fine-tuned their sound into an elegant amalgam of influences. Additionally, they recorded with prior collaborators Captain Cuts [Smallpools, Tove Lo] — a production team that includes Ryan Rabin of Grouplove, and worked with Matt Radosevich [Walk The Moon, One Direction] on two additional tracks. “We wanted to create songs that we knew we would enjoy playing live, songs we hoped that speak to people’s personal experiences with love and life and loss and everything that comes with being a kid — or really anyone — in love,” Katie explains.

“We’ve been on tour incessantly, and this album was really written all over the country,” Colin recalls. “It was composed in green rooms, hotels, parking lots, and everywhere in between. I went to Nashville for a week on a whim and tried to learn how to write country music. I was so lucky to work with some of the best in the business. I wanted to bring some of those storytelling elements into the music too. We really grew up, and the songs reflect that journey.”

The first released track “Through The Dark” builds from a shimmering acoustic guitar into an unshakable harmony between Josh and Colin. It shines its own kind of musical light.

“Everybody goes through dark times,” Josh asserts. “We’re trying to put a positive spin on that though, and show you can get through that darkness no matter what.”

Colin continues, “In a weird way, it feels like the answer to ‘Waiting for the Dawn.’ It’s a hopeful and encouraging song.”

Then, there’s the first single “I’m Good.” It begins with a sun-soaked clean guitar and resounding percussion before snapping into a delightful refrain that’s undeniably unforgettable. You’ll feel good after one listen…

Elsewhere on the album, “Whatever Forever” is augmented by driving handclaps and a group chorus that proves infectious. Lyrically, it stemmed from some shared ink within the band. “Colin and I both got a tattoo of that phrase a few years ago in a hotel bar during Hurricane Sandy,” smiles Josh. “We’d seen it on the wall of a bar, and it felt like the perfect new life motto. We’re not worried about anything; we’re just going for it.”

“That’s a personal favorite,” concurs Colin. “After one show, I had a girl walk up to me and say, ‘I’ve been dealing with so much and hurting so badly. I adopted ‘Whatever Forever’ as my mantra. I needed that.’ Sometimes, you need to distance yourself from what hurts.”

Ultimately, The Mowgli’s open up their hearts once more, and the results are nothing short of inspiring. “We just want people to feel good,” Katie concludes. “It’s a domino effect. If someone leaves a show feeling great, maybe they pay it forward. If we can contribute a little bit of joy, companionship, and happiness, we’re doing our part to make the world a little brighter.”

“I want them to feel inspired to do something positive,” Josh agrees. “It’s all about sharing that.”

Colin leaves off, “I want this to be a positive transformative experience. It’s almost like falling in love. When you’re in a good mood, you tend to react positively. I hope it adds more positivity and love to the world.”

The Southern California seven-piece are currently on tour with LIGHTS, and have previously toured with American Authors, Fences and Hippo Campus.


Elle King


Photo by Shane McCauley

For Fans Of: Meg Myers, Grace Potter, Jack White, ZZ Ward, X Ambassadors, The Black Keys

Frank and fearless, tender and rowdy, Elle King’s debut album, LOVE STUFF, marks the true arrival of the young singer/songwriter/guitarist/banjoist as a pop force to be reckoned with. “I always thought I knew who I was,” says King, “but now I’m really learning what kind of person I want to be. And with that comes who I am as an artist, because the songs come from who I am and what I go through.” She is the daughter of comedian Rob Schneider.

She recorded these twelve songs with such remarkable producers as Jeff Bhasker (Fun., Kanye West), Eg White (Adele, Sam Smith), and Jacknife Lee (R.E.M., U2), and guest musicians including Mark Ronson and Patrick Carney of the Black Keys. The first single from “LOVE STUFF,” “Ex’s & Oh’s,” was #1 Most Added at AAA radio upon release; Billboard called the track “catchy and clever.”

The album is the follow-up to 2012′s acclaimed The Elle King EP, which was praised by such outlets as Esquire, Vanity Fair, and Entertainment Weekly and included the single “Playing For Keeps,” which was featured as the theme song for VH1′s “Mob Wives Chicago” and chosen for the national TV ad campaign for “Mad Men.” Following the EP’s release, King toured extensively with the likes of Ed Sheeran, Train, and Of Monsters and Men, pushing back her work on new music.

Raised in rural Ohio, King pinpoints the day her life changed to her ninth birthday, when her stepdad refused to get her the album by the pop-reggae star that she wanted and instead gave her the first album by hard-rocker girls the Donnas. “I put that on and that was it,” she says. “I wanted to play rock and roll and be a girl and do it. I started listening to the Runaways and Blondie — all the rad chicks.”

She moved to New York City at age 10; after getting kicked out of school, she headed to California, then returned to New York, and then to Philadelphia for art college. In the midst of her far-flung and hell-raising travels, King started playing guitar at age 13 (“a friend of my stepdad’s taught me, and I learned stuff by, like, the Yeah Yeah Yeahs and Otis Redding”) and then later picked up a banjo, inspired by the Hank Williams and Earl Scruggs records her family listened to.

It was during her time in Philadelphia that her music took a different turn, and her songwriting got more serious. “I was living on my own, getting into way too much trouble, and really getting my heart broken for the first time,” she says. “I’ve never been shy, but that’s when I started singing in parks and busking.”

King also had an epiphany about her approach to her instruments. “When I picked up the banjo, I would play country music,” she says. “But I saw a band in the park one day, and these guys played the banjo just as an instrument, not stylized in any kind of mold, and I got it — just play it because it’s beautiful.”

The songs that started emerging got her noticed and led to the making of The Elle King EP. But even after relocating to Brooklyn and pursuing a music career in earnest, King was no more able to settle down. “I haven’t been able to sit still since I could walk,” she says. “I followed a country singer to Nashville, got my heart broken again but decided to stay there and try to figure it out. I took a year to really think, and then left and I haven’t stopped — I drove 30 thousand miles in the first six weeks. But if you can’t handle that, you’re not gonna make it. I want to put my feet in every country, I just want to go out and play. I’m a gypsy.”

With this outlook, she singles out the LOVE STUFF track “Song of Sorrow” as an especially personal and meaningful statement; “I can’t seem to find my way back home,” she sings. “It’s been a hundred years/I’ve no idea which direction to go.”

“That’s about where I’m from and the journey of finding yourself,” says King. “Since I’m constantly moving, home is a state of mind, not a place. I’m always searching for where I feel at home.

“That’s why I have such a sense of pride about this album,” she continues. “I worked my ass off and kept trying my hardest. I feel unbelievably lucky. I still can’t believe I’m getting away with it.”




For Fans Of: Mat Kearney, Owl City, Tonight Alive, We Are the In Crowd, Betty Who, Ellie Goulding

If you count yourself a longtime member of the devoted Cult of Lights, prepare to fully lose your mind to Little Machines. This record – a gleaming, groundbreaking, generously tuneful slab of brightly hued 21st-century techno-pop brimming with songs so immediate and timelessly pure of heart that they feel like old friends on delivery – is going to make perfect sense to you in the best way possible.

If you’re new to Lights, no worries: you’ve picked a fine place to start. Little Machines represents a dream union of, and wallopingly self-assured expansion upon, everything the diminutive Canadian singer, songwriter and synth enthusiast has done before. Now you can dive into the back catalogue with informed ears.

That catalogue has set the creative bar pretty high, for the record. Lights’s last outing, 2011’s Siberia, was a strikingly ambitious sophomore LP that turned many a head not previously turned her way by introducing layers of synthetic dissonance and juddering dubstep bass into her signature, sweetly melodic electro-pop sound. It was a struggle to get Siberia past the gatekeepers and out into the world, but when it did get out there – to a No. 3 debut and gold sales at home in Canada, more than 100,000 copies moved worldwide and no small amount of international critical acclaim – it put Lights in the perfect position to conquer the planet with her next album.

The only trouble was the next album refused to come. Despite having Siberia’s artistic risk-taking validated by positive reviews and strong sales, Lights couldn’t come up with a note or a lyric she liked for the follow-up and descended into a bottomless pit of self-doubt. It’s astonishing to think that a musician who’s demonstrated so much flagrant promise and confidence from an early age might wind up stricken with fear that it was all over by her mid-20s, but that’s what happened: Lights was convinced she’d run out of things to say. It was a case, as she puts it, of “the worst writer’s block ever.”

“In the moment, I spent so many nights just bawling,” Lights concedes over a cocktail and a nibble at Sneaky Dee’s, the hallowed Toronto punk-rock eatery and live venue where she was once a beloved enough regular to have an entire dish – the “Cactus in the Valley” nachos – named in her honour. “‘What am I gonna do? I don’t have it anymore. I’ve just lost it.’”

By now, you’ve heard at least some of Little Machines, so you know that Lights had not, in fact, lost it. But it wasn’t easy getting to this place. Oh, no.

Siberia was one of those transitional records where I was, like, ‘Okay, I need to explore that experimental side. Let’s focus on cool sounds.’ And I kind of walked away from songwriting a bit. I was so confused after that, and I was so uninspired. And when you’re uninspired, everything sounds bad. So I just stopped listening to music. I didn’t enjoy anything. I was just living in frustrated silence.”

Lights dabbled in painting and poetry. She sought refuge in the music of the many female artists, from Patti Smith to Cyndi Lauper, who’ve inspired her over the years. She disappeared into the New Mexico hinterlands on a solo writing sojourn that found her living off the grid in an eco-friendly “earthship.” And suddenly, once she’d stopped worrying about what she was going to do next and started enjoying simply listening to music again, the songs started to flow.

Lights proved her forward-thinking electro-mettle with Siberia, so on Little Machines — working with producer/engineer Drew Pearson (Katy Perry, OneRepublic) and A-list mixer Mark “Spike” Stent (U2, Madonna, Beyoncé) — she’s allowed the futuristic electronics to sit on a more even keel with the acute sense of melody she displayed on her gold-selling 2009 debut, The Listening.

“It was about the lyrics and the melodies and dealing with the production later,” she says. “It was about getting this killer song that you could strip down and play.” Little Machines is less concerned with making a self-conscious artistic statement than its predecessor, and more concerned with letting the exuberant tunefulness of songs like the breezy “Running with the Boys,” “How We Do It” (which features the triumphant refrain: “It doesn’t go out in a blaze of glory / It’s all about how you ended up where”), and the anthemic first single “Up We Go,” sell itself unadorned.

At 27, Lights is no longer the preternaturally talented kid who signed her first deal at 15. During the writing and recording of Little Machines, she and husband Beau Bokan (of L.A. metalcore outfit Blessthefall) were expecting their first child, a daughter named Rocket Wild Bokan born this past February. Nevertheless, there’s a contagious, youthful vitality to the music that goes hand in hand with its themes of nostalgia and yearning for an escape to simpler times.

“I feel like when you learn too much about the industry and what people expect, it throws you off your game a bit,” Lights says. “So I had to strip it back down. I started reading other artists’ stories – Patti Smith and Kate Bush, where they got their inspiration. And what I started going back to was really nostalgic content. I relapsed into being a kid again, in some ways.”

She also wrestled with the age-old questions artists ask themselves: “What purpose do I serve in the world of music? What can I offer people?’” she says. “So I started writing about things that mattered to me, and those things were youth and this awesome naïveté that I used to have. I didn’t write anything that was trying to be something, which felt really good.”

After all the hard labor that went into Little Machines, Lights is now delighted to find that becoming a mother has rejuvenated her creativity. As real as the tears and late-night panics were, the writer’s block turned out to be a false alarm. She’s still got plenty left to say and, as she concludes, “I wound up making what I think is the best thing I’ve ever done.”

“Having a kid made everything else seem less scary,” Lights says. “All those stupid pressures that you get caught up in become an afterthought. It just feels like, ‘Hey, if I lose everything today, I still have this. And this is amazing.’ So it makes you want to do it. You want to make something you’re proud to leave behind. It’s not about the money you’re making or the hits you’re getting. ‘Legacy’ suddenly becomes a thing. It’s reinvigorated my desire to make great music.”




For Fans Of: Wolf Parade, Dirty Projectors, Telekinesis, Static Jacks, The Helio Sequence,  Viva Voce

For Ume (pronounced ooo-may), music is the embodiment of contradiction. The Austin band’s powerful rock songs contain a multitude of opposing juxtapositions, balancing elegance with brutality, strength with fragility, ferocious metal and sweet melody. These paradoxes resound through the trio’s new album, Monuments, a collection of songs that reimagine heavy music and is as beautiful as it is massive.  When the musicians began writing for the album, after touring over 200 dates in support of their acclaimed debut Phantoms, the emphasis was on translating the impassioned force of Ume’s momentous live show onto a recording.  Rarely has the platform for women in rock been updated as authoritatively as it has been with this band and this new album.

“There’s always been a complete lack of inhibition in our live show,” Lauren says. “I don’t know if that’s necessarily been captured the same way on our recordings. So with this record we tried to embrace that sense of abandon and emotional catharsis in the studio as well. We didn’t hold anything back.”

Recorded with Grammy-winning producer Adam Kasper (Queens of the Stone Age, Cat Power, Foo Fighters, Nirvana) at Robert Lang Studios and Studio X in Seattle, WA, Monuments is Ume’s most colossal sounding recording yet. The recording process was about “just playing the songs and letting the sounds unfurl in an honest and true way,” Lauren says.  For the band, the process was as much about self-understanding as it was about tangible creation.

“Adam gravitated toward a lot of my demos that I was unsure about and he helped me see myself as a songwriter for the first time,” Lauren says. “I felt we could take more risks, because we could be free from all preconceptions and ultimately focus on the songs. So one moment we’re drawing inspiration from a Dionne Warwick record I found at an estate sale, and on the next track I’m trying to channel my inner-Iommi.”

Monuments emphasizes the intense power for which Ume has earned live acclaim, but also urges stronger variety of sound and greater emotional range. The album equally contains the heaviest riffs the band has written and their most vulnerable sonic moments, connected by an overarching tone of honesty and freedom.  From the first blast of the opening track “Black Stone,” there is no doubt this is a record driven by one of today’s most ascendant shredders, and one that is also not afraid to subvert rock conventions.  Cohesive but unorthodox, the album deftly balances the propulsive, surging rock of songs like “Too Big World” and “Chase It Down” with the raw, acoustic introspection of “Barophobia” and “Within My Bones.” At the record’s emotional epicenter is “Gleam,” a dedication to Esme Barrera, one of Lauren’s fellow Girl’s Rock Camp volunteers who was murdered during the writing of the record.

“Monuments began as an attempt to deal with loss, yearning, and struggle,” Lauren says. “But it became a process through which I learned to really embrace this life, loved-ones and this chance to make music.”

Lauren and Eric began making music together after meeting at a skatepark in highschool.  Shortly after forming Ume, Lauren moved on to attend graduate school in philosophy, but eventually traded in the PhD pursuit to follow her guitar heroine dreams.  Driven by a desire to share how they felt as kids the first time they saw Fugazi, Lauren and Eric have logged tens of thousands of miles together on the road, moving from basements and dive bars to major festivals like Austin’s Fun Fun Fun Fest and Paris’ Rock En Seine. They have also performed at Dallas’ own Homegrown Festival before.

Since welcoming new powerhouse drummer Rachel Fuhrer, the band has shared the stage with The Smashing Pumpkins, Warpaint, …And You Will Know Us By The Trail of Dead, Franz Ferdinand, Helmet, Wu-Tang, Foals, and were personally called by Perry Farrell to open for Jane’s Addiction at their Lollapalooza afterparty. Ume appeared on the 2012 Season Premiere of No Reservations with Anthony Bourdain, who celebrated the band as “a shitload of rawk in a tiny little room” before taking them to dinner during SXSW.  The band’s name – pronounced “ooo-may” – was taken from a Japanese plum blossom that they later learned symbolizes perseverance and devotion, a moniker that aptly reflects the musicians’ tenacity and passion.

“I’m a pretty stoic person, but when I heard this new record I actually cried,” Lauren says. “I think it expresses the story of what brought us here, and is in a lot of ways a celebration of not giving up.  It sounds like who we really are.”