Weird Phishes

Weird Phishes is exactly what it sounds like – the iconic melancholy
rock songs of Radiohead completely reborn as danceable, crunchy
jams. With full-album performances, unexpected mashups, and gluey
funk-driven improvisation, their jam-heavy take on alt-rock classics has
sparked unexpected energy in audiences across the northeast.
A quick glance at the band’s social media gives a glimpse into why this
unlikely mashup proves worthwhile. “Bought tickets on a whim
because I love both bands, had wanted to check out the club and
thought it would be amusing. I was not expecting such incredible
musicianship and thought that had gone into their set…it was one of
the best shows I’ve seen in years.” Said one user. “Clean, creative
mashups of a favorite album and great Phish selections. Great energy.”
says another. “Impossibly excellent show.”

In July 2019, Weird Phishes solidified their place in the New England
jam community, playing back-to-back afterparties for Phish’s
performances at Fenway Park. With a growing fanbase and an
ever-changing setlist, the band continued their breakout year with
several headlining performances in Boston and a fall tour to the
midwest, topped off with Phish afterparties in Providence and New
York, and the very last performance at legendary venue Nectar’s
before the pandemic hit. When live music returned in 2021, Weird
Phishes returned with a force. The band made its triumphant return
with a headlining performance at the inaugural Safe and Soundz
festival, and took a victory lap in their home city, selling out the
Aeronaut Cannery and performing at the legendary Paradise Rock

Chain Station

Chain Station is a 4-piece, high-energy, get ‘em out on the dance floor string band from Denver, Colorado. Their music is well-steeped in Americana roots, with vocal harmonies that are high, lonesome, and tight. Their picking ranges from lightning-fast to mountain mellow. They are a bluegrass band that would satisfy a picky old-timer and delight fans of newgrass, a delicate balance indeed.

They’ve become known for winning over crowds with creative, fun original songs that flow from the mountains, through them and right back to you. Pure Mountain Music! It’s obvious these guys love what they do, engaging their growing fan base with energy and stage antics that guarantee one hell of a night out.

The band’s highly anticipated new album “Backroads” went public May 11, 2019. The album “Where I want To Be” was released October, 2016. In 2015 a live album “Chain Up Volume 1” had a limited release and their debut studio album “Dancin’ With the Law” hit the scene in 2013. Chain Station has directly supported bands such as The Del McCoury Band, The Travelin’ McCourys, The Devil Makes Three, Todd Snider, Sierra Hull, Frank Solivan & Dirty Kitchen, Fruition, Trout Steak Revival, The Railsplitters, Lil’ Smokies, Hot Buttered Rum, Deadphish Orchestra and many more.

This band has been living life through music and adventures together for eight years. Relentless gigging in and around their home state of Colorado, and the midwest and Canada has made this band of brothers one of the tightest, most professional ragtag pack of muppets on the scene today.

Miles Over Mountains

Hailing from McHenry, IL Miles Over Mountains plays a modernized style of progressive bluegrass covering a wide spectrum of genres, dynamics, and feeling. Their live catalogue draws from their studio albums “Five Star Heart Breaker” (2015), “Ballads & Burners” (2017), and “Work Harder Not Smarter” (2020).  A new release “Burn the Ships” is on the horizon as they are wrapping up a new full length album due to be out in late 2022. The band has been performing, touring, and making records since early 2014 playing an average of 150+ shows per year throughout the Midwest region and beyond.

The group features Phil Hoffman (upright bass), Caleb Peters (guitar), Sean Shiel (mandolin) and Pete Smith(banjo). Collectively the members of the group have thousands of shows under their belt, giving their songs, sound, and performances a musical maturity that echoes their collective years of passion and experience.

Opal Agafia

Opal Agafia, based in Eureka Springs, Arkansas, embodies the sounds of the Ozark Mountains: a little soul, a little roots, a little rock-and-roll, a little old-timey swing – and a lot of heart. Drawing from many genres, Opal blends the best elements of soul, blues, jazz, gospel, country, swing, and traditional mountain music into a sound that captures the past and boldly pushes ahead.

Opal’s voice is packed with power and emotion; her lyrics are sophisticated yet accessible. The band provides a consistently tight backdrop that pushes every song forward, compelling listeners to pay close attention, lest they miss a single minute of this show. The result is music that’s irresistible, no matter the listener’s background.

Opal, already a skilled songwriter, holds nothing back. She couldn’t if she tried. Every performance seems like their best of the year as the band’s commitment to their music shines. Watching them perform her dozens of originals – with a few covers and jams thrown in now and then – is riveting, as Opal soars at leading the gifted players, effortlessly displaying a commanding stage presence that is as rich as it is rare.

In Her DNA, Perhaps, But Not In Her Original Plans

Even the most studious listener would never know it, but Opal Agafia is relatively new to singing in public.

While a college student studying for a career in marketing, Opal began a songwriting collaboration with her mother, DeAnna Smith, an accomplished writer in other realms. Their songs reflect their deep roots in the Ozark Highlands, as well as their concerns about the current conditions and future of the region. They know their history, but they do not long for it so much as explore how it may shape the future. Their approach is both fresh and familiar.

Opal first performed on stage in January 2015, singing her originals and strumming guitar at a few local joints and smaller music festivals with musician pals and their bands.

In just a few months – cheered on by fans and fellow musicians who admired her work already – Opal Agafia developed a powerful live show backed by: fiddle, mandolin, dobro, acoustic/electric guitar, electric/upright bass, and drums. Together, they put on a high-energy show while taking care to keep the songwriting and vocals in the spotlight.

During that first year, Opal Agafia quickly became a standout in the Arkansas music scene, performing hugely popular sets at festivals such as Highberry and Hillberry, and packed shows at venues from Little Rock to Fayetteville’s George’s Majestic Lounge.

Spring 2016 brought the release their first studio album, “One Down, Forever To Go.” The group’s second album, “Share What You Own,” was released in June 2018 to enthusiastic audiences in packed venues along the album release tour route, including Arkansas, Oklahoma, Missouri, Texas, Kansas, Colorado, Oregon, Utah, and more.

With engaging new songs emerging, Opal has debuted many to appreciative live audiences, and it continues to pump out videos as well. The band’s fan base is an eclectic and broad blend of folks from all walks of life, stretching, where they have established successful tour routes filled with eager supporters.

Squeaky Feet

Squeaky Feet is an electrifying band guided by the infinite potential of musical improvisation. The sonic diversity attracts listeners with all types of musical tastes. Whether it’s dance, trance, jazz-funk, progressive rock, or metal, Squeaky Feet delivers something for everyone. The band specializes in cerebral and stimulating compositions, accompanied by relentlessly intoxicating grooves.

Squeaky Feet was conceived within the walls of Berklee College of Music. Its members relocated to Denver in 2018, and their hunger for greatness manifested into what the band is today. Comprised of Colin Shore (guitar/vocals), Greg King (guitar), Jimmy Finnegan (bass/vocals), Brian Keller (keyboards/sax/flute/vocals), and Kevin D’Angelo(drums), Squeaky Feet is poised for success.

Since the beginning, things have happened fast for Squeaky Feet. In 2022 alone, the band has shared the stage with acts such as Dopapod, Aqueous, Neighbor, and Spafford. During this time, they’ve also completed two national tours.

The next chapter for Squeaky Feet is an exciting one. They’re finishing the year by heading into the studio to record their first album. Keep your eyes peeled and follow them on all their musical expeditions.


Is it a fruit? Is it a band? Is it a transforming mechanized battle robot from another planet? Well we aren’t exactly sure but what we do know is that when this quartet comes together and plays it’s not something you want to miss. Based out of West Palm Beach Florida, Guavatron has been taking the southeast music circuit by storm with their smooth jams and hard-hitting peaks of musical ingenuity.

Gaining a loyal fan base through local shows and pop-up campsite sets at festivals, they have as of late been making the way to the top of lineups and opening for national touring bands such as Aqueous, Particle, Perpetual Groove, and The Heavy Pets. With an emphasis on improvisation, Guavatron creates a fresh sound at every show while keeping their roots of dance, rock, electronica, and funk involved.

Freekbass & The Bump Assembly

Freekbass, to the core, is an accomplished bass player with a particular passion for Funk. Yet beyond the instrument, he is also a producer, a songwriter, a teacher, a host, a superhero-geek, and a showman. His unique musical style, a blend of 70’s funkadelic, 80’s synth, electronic dance, and some old-school James Brown flavor, has become a vehicle for Freekbass to spread positivity, while also embracing his funk roots.

Freekbass put together a live band, “Freekbass & The Bump Assembly” and toured relentlessly, expanding his circles and reaching cities, coast to coast. His high-energy live shows led him to the festival scene, and he simultaneously did dates with the supergroup, Headtronics.

The current touring line-up for Freekbass & The Bump Assembly is a 6-piece wonder team that includes Freekbass on bass and vocals, drummer Dione Howard, Sky White on keys (Foxy Shazam), Sammi Garett (previouly Turkuaz), Reilly Comisar on vocals, and Nate Lewis on guitar. The friendships and wealth of collaborative musicianship in this group is apparent on stage, where infectious grooves meet nonstop-energetic performances.

Crooked Coast

In a world where music genres are irrelevant today Crooked Coast focuses their writing on powerful lyrics, melodies and undeniable hooks. Sonically, they borrow from hip hop, rock, reggae and more to create something too vibrant to nail down. Their live shows don’t waste a minute getting to the goods. The band’s ability to tell a story and connect with their audience tells a tale of both individualism and community.

Crooked Coast’s 2020 single “Rise & Shine” debuted at #5 on the iTunes reggae charts marking the beginning of their work with acclaimed producer/engineer Courtney Ballard (5 Seconds of Summer, Good Charlotte, The Used.)
Summer 2022 they released the full length album Picture This, mixed entirely by Courtney Ballard. The album finds the band refining their songwriting and experimenting sonically while sticking to their trademark sing along hooks. They spent the summer performing at major festivals like Boston Calling and Beach Road Weekend as well as their own Coast-Fest which they produced and headlined.
The band blurs the line between music and visual art, self producing music videos, graphic design and an extensive line of merchandise.
“The Bay State’s Crooked Coast has swept the region with extremely innovative shows and music for years”
“The Cape Cod band takes inspiration from classic rock, hip-hop, and reggae to create a vibrant, powerful sound that hits nostalgic notes while staying new.”
-Dig Boston

Kyle Tuttle

International Banjo Champion Kyle Tuttle is shredding his way through the jamgrass scene. Since moving to Nashville in 2012 Kyle has shared the stage with many epic performers, most notably as a member of the Jeff Austin Band for 3 years. Kyle has also worked closely with Jamgrass legends Larry Keel, Travelin’ McCourys, Leftover Salmon, Greensky Bluegrass, Billy Strings, and Railroad Earth. In addition to being seen around the jamgrass circuit, Kyle is a studio musician in Nashville, and recently produced the Chain Station album ‘Backroads’.

A few words from Jeff Austin about Kyle,

“He’s one of a kind, I’m telling you. If there’s a better banjo player then show them to me. It’s a rare gift when somebody can connect theoretical musical depth, like knowing what phrasing you’re using, or what key you’re in, or what variation on the chord you’re using with, fucking balls of fucking steel. To just be able to dig in like he does and play his ass off, it’s amazing.”

Kyle’s debut album ‘Bobcat’ was released in 2016. Pete Wernick of Hot Rize says about the record,

“Precious few banjo players have both solid mastery of traditional Scruggs style and also the impulse and ability to make eclectic excursions using high-challenge techniques. On Bobcat, that combination creates a likeable “anything might happen” feeling that pulls the listener in. Kyle’s tone and execution are clean and attractive, and help sell his musical choices to the listener. In all, Bobcat is a welcome debut, introducing us to a banjo player who deserves our attention.”

Mystic Bowie’s Talking Dreads

On “Life During Wartime,” the first single from Talking Heads’ 1979 album Fear of Music, David Byrne famously sang the immortal lyrics, “This ain’t no party, this ain’t no disco…no time for dancing…” Yet all those anti-fun declarations go gleefully out the window when Mystic Bowie, aka the “Head Dread,” takes the stage, re-imagining and infusing fresh life into the Talking Heads’ classic catalog with his high octane mix of roots reggae, ska and lover’s rock (aka “romantic reggae”).

Since debuting his musically revolutionary Talking Dreads project live at the High Times Music Festival on the beach in Negril in late 2015, the charismatic Jamaican-born singer and performer has electrified audiences at more than 300 shows across North America – spinning the heads of initially skeptical Talking Heads fans, and getting everyone else grooving along to the infectious, joyous rhythms and jubilant spirit of his native island. Considering the success of these events, it was only a matter of time before Bowie – who has lived in the Northeastern U.S. for many years – headed back to his cherished homeland and set up shop at the famed Barry O’Hare Studios in Ocho Rios. He gathered old friends he had played music with since childhood, along with younger musicians, legendary Jamaican artists and other surprise guests to capture all the magic of his live performances on the epic, 13 track recording Mystic Bowie’s Talking Dreads.

“Talking Dreads is much more than a cover band,” Mystic says. “I am very much drawing on my own musical culture and history to make these amazing songs my own, while at the same time preserving the integrity of the Talking Heads songs. I’ve always felt that reggae’s dance-inspiring, feel good vibe is universal, as are many of the band’s songs. And don’t forget their intelligent, powerful lyrics, which are fun to sing and shine fresh light on through this new fusion of styles. It took a lot of effort to deconstruct and dissect each song to make it work seamlessly with my singing and performance style. I removed all the instrumentation, kept the story and words, then created my own reggae, Caribbean and tribal feel and
married those two elements – then brought back a few of the melodies that captured my attention back in the day.”

Mystic can trace his passion for all things Talking Heads back to his early days performing at hotels in Jamaica, when he heard “Wild Wild Life” – but his connection to the legendary new wave band goes much deeper. His close personal and professional relationship with Chris Frantz and Tina Weymouth, founding members of Talking Heads and Tom Tom Club, began when he joined the latter group as a singer in 1996. He appeared on their 2000 album The Good, The Bad and the Funky and performed with them for nearly 20 years. Mystic’s first spark of inspiration for the concept that evolved into Talking Dreads began during his time with Tom Tom Club, when there were attempts by certain entities to secure a new Talking Heads album and reunion tour.

“I was already fantasizing about being a backup singer,” Mystic laughs, “but when that hope was not realized, I thought about my own lengthy solo career and my work with Chris and Tina and mused, ‘Why not marry the two ideas, my reggae culture and heritage and Talking Heads Music and lyrics?’ I kept this as a secret for eight years and then went to Berklee College three years ago, recruited a handful of students to jam with me and started reconstructing some of the band’s classic songs. My only criterion was that the kids were familiar with the band and were reggae fans.”

After creating rough recordings in a Berklee rehearsal room, Mystic moved to a pro studio in Boston to create a fully produced demo. The demo featured 11 songs that spanned the entire Talking Heads’ discography, starting with early favorites like “Psycho Killer” and “Pulled Up” and continuing with their best known hits such as “Burning Down the House,” “Crosseyed and Painless,” “Houses in Motion”; and brilliant but more obscure gems like “This Must Be The Place.” He got an instant “thumbs up” from Frantz and Weymouth, then ran it by Seymour Stein, the music industry mogul who had signed Talking Heads to his label, Sire Records, and helped make them superstars. “Seymour’s exact words were, ‘Why
the hell didn’t I ever think of this?’ When I asked for his blessing, he said, ‘On one condition: that you include ‘Love, Building on Fire,’ which is the song he heard them sing at CBGB’s in New York that ultimately inspired him to sign them.”

The Talking Dreads debut features an amazing lineup of legendary reggae figures, including singer Freddie McGregor, whose recording career dates back to his 1980 album Bobby Bobylon; ska guitar master Ernest Ranglin, session player and arranger of Millie’s hit “My Boy Lollipop” and the Melodians’ “Rivers of Babylon” (Bob Marley, Jimmy Cliff and Monty Alexander); singer and Soul Train Award nominee Tarrus Riley (“Start Anew,” “Good Girl Gone Bad”) and saxophone great Dean Fraser. Bridging
generations, Mystic also invited his young drummer friend Kirk Bennett and his old friend Lincoln Thomas, who is McGregor’s longtime guitarist. The sole non-Jamaican on Mystic Bowie’s Talking Dreads, Cindy Wilson of the B-52s, was chosen as a voice that harkens back to the era of Talking Heads’ new wave heyday. Wilson duets beautifully with Mystic on a dreamy, soulful rendition of “Heaven.”

“I decided to go with all Jamaican musicians,” Mystic says, “because there was always the risk that if I worked with American musicians who were big Talking Heads fans, they might lean towards the original style and melodies, and I wanted to make the album authentically Jamaican. So I featured a lot of these artists from the island and legitimized the entire process to be accepted and understood by Jamaicans. The rest of the world knows Talking Heads, so they’re going to catch on with the lyrics easier. In the Caribbean, you have to give them that thing that’s going to attract them to it, and that was their cultural genre attached to these songs. In the studio, I would make sure everything was authentically Jamaican, but also make sure it was true to the Talking Heads’ vibe, I would run ideas past Frantz and Weymouth.”

Mystic complements the 11 Talking Heads re-imaginings on Talking Dreads with his own unique, Jamaica-fied spin on two songs originated by other artists that are near and dear to his heart including “Piece of My Heart” — best known for its hit version by Big Brother & The Holding Company featuring Janis Joplin, and the Grateful Dead’s “Shakedown Street.” Mystic recalls that while growing up, his late mother, a single mom, worked all day long in the fields. When she was upset or in a bad mood, she would
sing “Piece of My Heart” for comfort. He recorded this as a personal tribute to her.

As for “Shakedown Street,” let us allow Mystic’s brilliant way of weaving a narrative take over: “When I was a teen performer at hotels, a lot of musicians would be nearby hanging out on the beach. I remember one of them being friendly to me one day, showing me how to play a few chords on his guitar. He taught some other local kids as well. Much later in my life when I was living in Connecticut, I was talking to some friends about the Grateful Dead. When they showed me a picture of Jerry Garcia, I knew that was the musician with the curly afro on the beach who gave me that song to play. Besides that reference, the lyrics of the song are dear to me and, in some ways, tell the story of my life.”

Another classic Mystic tale is his recollection about encountering musical legends without even knowing who they were when he was a young musician in a mento (Jamaican folk) band that had a gig at the Junkanoo Festival in Nassau, The Bahamas. When he was 13, he won a contest sponsored by the Jamaican Cultural Development Commission, and began playing with the renowned group at local hotels; and later at festivals in Peru, Mexico and The Bahamas. At night, while the other members were out
talking to girls, he wandered off and happened upon Compass Point Studios, which was founded by Chris Blackwell, owner of Island Records. In the late 70’s and early 80s, this was a hotbed of superstar recording activity – and the sight of musical instruments made Mystic hang around as long as he could. Everyone from Grace Jones, the Stones, U2 and James Brown recorded there.

One of the funkier elements of the Compass Point story finds him in the presence of Frantz and Weymouth back then. Years later, when he was living in Fairfield, Connecticut, he needed a backing band for a Mardi Gras show he was hired for at Tramps in NYC. The promoter provided him with an all-star band that included Frantz and Weymouth. Mystic went to their house for a rehearsal, but they didn’t recognize him as the young boy from Compass Point.

Even better was his “then and now” encounters with the late Keith Emerson: “At the end of each night, his gentleman with a British accent gave me rides on his motorcycle. I had no clue he was a famous musician. One night, he was about to give me a ride when a drunk guy jumped on. I grabbed the guy by his shirt and yanked him off. I was afraid so I ran back to my hotel room. Years later, I was coincidentally performing at a film festival in British Columbia with Keith. When I walked in to say hi, Keith recognized me from all those years ago and said, ‘Nice to meet you, my ass.’ He told me that that drunk guy was none other than Ringo Starr. We had a good laugh and we hugged and did a great show.”

Get Mystic talking about his heritage as a member of the Jamaican maroon tribe, and he will start a deep discussion about its indigenous tribal music forms (Myal and Pucomina), and an 18th Century history lesson about his ancestors, who escaped from slavery on Jamaica and established free communities in the mountainous interior, known as Cockpit Country. Even as he has lived in the U.S., his memories of an impoverished upbringing and limited educational opportunities prompted him to help make the future brighter for the Jamaican children of subsequent generations. In 1991, he began purchasing and shipping school supplies in large quantities to the island. The charitable organization he launched that year became known officially seven years ago as the Mystic Bowie Cultural Center. As a registered non-profit, the organization can raise more funds to continue the flow of school supplies.

Mystic has been awarded two Certificates of Special Recognition from The Overseas Maroon Council, and the Accompong Primary and Junior High School in Jamaica for his efforts. Two years ago, he opened the Mystic Bowie Accompong Library and has stocked it with more than 15,000 books and 16
computers. An open air space is used to hold after school programs and primary school graduations. He is the founder of the Maroon Youth Culture Group, a gathering of young singers, chanters, drummers and
dancers, that reflects his commitment to sharing the art of music beyond the stage. Mystic has also been named the reigning “Minister of Youth and Culture” for his beloved tribe.

“I am very committed to the Maroon traditions and passing these down to the younger generation, along with the principles of what it means to be part of our tribe,” he says. “No matter where I am living or performing in the world, I am entrenched in these sacred roots, and am building a home there where I can retire someday. There are millions of Maroons that live abroad, and I love to use music to draw attention to where I come from and how it has shaped me. It’s all about community and caring for one another.” He continues: “That’s also the sense I felt when I was calling on all these amazing Jamaican musicians to participate in the recording of Talking Dreads. I am so appreciative that they saw me as worthy of their
time and talents. Both live, and with the album, I enjoy putting myself out there and expressing my love for this great music, hoping people will continue to sing along and dance and appreciate what I add to the legacy of the Talking Heads. I give 100% thanks to that band for their extraordinary artistry and an enduring legacy that has inspired me throughout my life.”