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Space Ballroom Weekly Round Up: 7 shows announced, Acid Mothers Temple returns
Space Ballroom announced Baths, Hot Milk, Lady Wray, The Kilans, King’s X with Sound & Shape, Acid Mothers Temple with The Macks and The Regal Drug, and Momma with Narrow Head, and Jawdropped this week. Tickets are on sale now via spaceballroom.com
Baths
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
September 9, 2025
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Baths
Will Wiesenfeld has been recording original music for more than 15 years, most notably under the moniker Baths. Will has had albums, collaborations and remix work released on dozens of independent labels, and toured around the world. He maintains a philosophy of keeping his work as personal as possible, with the majority of his music created in his home studio. For his fourth full-length album Gut, Will embraces a new personal ethos of writing “from the stomach” versus writing from the heart. “I’m sketching my strongest and most pervasive feelings out quickly and treating their roughness as gospel, then exploring them in greater detail with the added sheen of time and perspective.” The most impressive Baths album of Wiesenfeld’s career, Gut spans a breathtaking spectrum of lacerating hopelessness to lustful joy, inspired by the more unforgiving oeuvre of post-punk and noise music, and any music that works its magic through blunt force rather than careful introspection.
Hot Milk
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
September 26, 2025
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Hot Milk
Hot Milk are an emo power-pop duel fronted band from Manchester, England. Jim and Han met in a bar in the Northern Quarter in 2016, became fast friends and have lived together ever since. What started over a bottle of wine and an acoustic guitar in their living room, whilst it pissed it down outside, quickly became their vice and way to survive through everyday life. The Manchester weather coupled with their persistent desire to fill a meaning-shaped hole meant that one song quickly turned into fifteen after running home from work during lunch breaks and staying up all night.
Singing sad songs with happy melodies, Hot Milk are a celebration of the real. With Fun, Family and Kindness at the forefront of their minds, Hot Milk hope to create an open and warm sphere where everyone is invited.
Lady Wray
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 3, 2025
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Lady Wray
Like most artists, Nicole Wray’s life in music has always reflected her real life. As a fifteen-year-old in Virginia, she auditioned for Missy Elliot in her mother’s home. Even then, with her voice so full and arresting—Missy signed her on the spot. Later, in 1998, merely two years after that tryout, she had a debut solo album and a single that smashed up radio and TV, quickly going gold. But back then—young and unsure—Nicole was essentially following someone else’s lead, signing the lyrics they wrote for her and in the way they wanted them sung.
Fast forward to now, after a few fits and starts with other labels and projects, and you’ll find a very different Nicole Wray. Today, she’s a mother, a wife, and living for herself and her family. So naturally, this evolution followed into her music: she sings how she wants to, expertly writing lyrics for herself and others. To hear her tell it, it’s these things—and most importantly, an unflinching self-belief—that help lead a young and raw Virginian singer named Nicole to become Lady Wray.
The latest step for Lady Wray is her new album, released on Brooklyn’s Big Crown records. Called Piece of Me, the record is—on the one hand—a continuation, picking up where Lady Wray and label co-owner/producer Leon Michels left off with Queen Alone. But Piece of Me is also a kind of homecoming for Lady Wray. That first record sonically showcased the dexterous range of Lady Wray’s voice and songwriting by leaning toward soul and R&B with tinges of hip-hop. On Piece of Me, it’s still R&B with a heavy dose of soul, but you’ll hear boom-bap-smacked drums and chunky basslines front-and-center, all creating a head-noddingly dense backdrop for Lady Wray to traverse—much like the era in which she was first introduced to us. In some ways, Piece of Me is like a Big-Crown-ification of late 90s R&B—and Lady Wray is right at home.
Nowhere is this approach more evident than on the first single from the record. The song shares the same name as the album, “Piece of Me,” and while it was initially released in 2019, it took off in 2020 and beyond. It’s about the people in your life who may need more than you can give, and how that can strain it all. It’s no wonder this single resonated in 2020—we all either wanted more or wanted to give more at a time when we couldn’t connect. Featuring just Lady Wray, piano, drums, bass, and guitar—the musical backing is restrained and expertly executed, setting up Lady Wray for the full spotlight. With its open-and-bubbled bassline and speaker-testing drumline, some rap/hip-hop artists have already sampled this song. And while that is a kind of compliment, it’s really of little consequence. Only a few people in the world can take this level of musicianship and elevate it. And Lady Wray is one such person.
The story goes that “Piece of Me,” plus two more singles (“Come On In” and “Storms”) were products of jam sessions at Leon’s home studio. And while that’s not all that impressive, listen to these songs—with subject matter covering relationships and hardship, the emotional charge Lady Wray sends out, the connection she and her lyrics make with the audience—and then picture her having to sit down to record. At the time, Lady Wray was pregnant with her daughter—in her last trimester. Her voice is so powerful, so raw, so thorough on these initial songs—it’s wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Just more evidence that Lady Wray is indeed doing what she’s supposed to do, and very little is going to stop her.
With this in mind, when talking about this record, for Lady Wray, it’s another step toward a larger purpose. “My goal is always to help and to heal people with singing,” she explains. “Part of that is to try and bring back real music, real singing, so people can feel something again.” Now, she’s not dissing anyone here, to be clear. It’s just that Lady Wray cannot sing without tapping into something deeper, searching for that shared compassion between all of us. Perhaps it comes from her church upbringing, or maybe from her years of trials and tribulations in the music industry. Either way, Lady Wray is looking to bring that “Good Sound” back and the good feelings that come with it. She calls it “those inner hands,” and she always means to stir them up, grabbing your attention from within.
There shouldn’t be too much of an issue keeping our attention with Piece of Me. First, building on the hip-hop production vibe, there’s the song “Through it All.” It’s about a chaotic but beautiful relationship and how, despite the troubles, we can still be thankful for it. But the song features a sped-up Lady Wray signing the chorus, sounding right out of some long-lost Kayne West beat tape circa 2005. Then there’s “My Thing,” which starts with the funkiest of open drum breaks. And with Lady Wray complimented with fuzz guitar and just-off-beat-enough string plucks, you might mistake it for some Amy Winehouse remix or something. But no, it’s not. It’s Lady Wray, and you’d be good to remember that.
With past albums like the Lady project and Queen Alone, it’s hard to not acknowledge that Lady Wray plus Leon Michels production equals magic. But this magic is also coming from the fact that Lady Wray is now squarely herself, calling her shots, and singing to help heal first—everything else is secondary. “It’s a beautiful thing I’ve always wanted in my career, and now I have it,” Lady Wray says. “They encourage me to be me all day long.” This is Lady Wray at her finest, and she’s giving us all a piece of where she’s at these days
The Kilans
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 4, 2025
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The Kilans
Emerging from the Salt Lake City music scene, The Kilans are an indie rock band known for their raw sound and intense live shows. Formed in 2023, the band features Jack Ongman on vocals and rhythm guitar, Jacob Shultz on lead guitar, Cooper Brezoff on bass, and David Wiseman on drums. It all started when Jack and Jacob met while skateboarding in college and began jamming together. They soon brought in David and Cooper, and everything clicked.
Their debut single, “Curly,” dropped just five months after they formed and made waves in Salt Lake City. However, it was their second release, “Why is it Light Out?,” with its introspective lyrics and dynamic instrumentation, that really built their loyal following and got them featured on numerous Spotify playlists. Since then, The Kilans have been recording and playing shows, including gigs in Los Angeles, continually pushing the boundaries of indie rock with their blend of modern and classic influences.
King’s X
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 16, 2025
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King’s X
Acid Mothers Temple Soul Collective
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 23, 2025
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Acid Mothers Temple Soul Collective
Formed in 1995 by Makoto Kawabata at the same time as the Acid Mothers Temple Soul Collective.The group released its debut album in 1997 on PSF Records (Japan), and it was selected as one of the year’s best albums in the The Wire magazine (UK). In 1998 the group played their first tours of the US and Europe. Since then the group has released a huge number of albums on labels from many different countries. As of 2017, the group has released around 80 albums. Every year since 1998, they have toured extensively in the US and Europe, and more recently have started performing around Asia and in Japan too. The group has performed in collaboration with many musicians including psychedelic originators Gong and Guru Guru, Simeon (Silver Apples), Nik Turner (Hawkwind), and the Occitanian trad singer Rosina de Peira. Japanese collaborators have included Afrirampo,Tatsuya Yoshida (Ruins), Maso Yamazaki (Masonna), Seiichi Yamamoto (Boredoms), Jun Kuriyama (The Ox), and many others.
To begin with the group had a floating line-up with contributions from many members of the AMT Soul Collective. But as tours became more frequent, the group began to coalesce around a core touring line-up. Other bands were created with Acid Mothers Temple as part of their name (AMT & The Cosmic Inferno, AMT SWR, AMT & The Space Paranoid, AMT & Infinity Rising Zero, Acid Mothers Gong, Acid Mothers Guru Guru, Acid Moon Temple, etc.), but AMT & The Melting Paraiso U.F.O. has continued to function as the mothership and main lineage for all our activities.
In 2016, twenty one years since the group’s founding, there was a major shift in the line-up and “Next Generation” was added to the name.We now view the first twenty years as chapter one in our story, and we are now turning the page to start chapter two. The group played more than 100 shows in each year, toured in Europe, North America, South America, Oceania and Asia, also Japan.They also played many festivals (Glastonbury Festival in UK, Levitation in US and France, Rock In Opposition in France, Standon Calling in UK, Kuala Lumpur Experimental Film,Video & Music Festival in Malaysia, LUC fest 貴人散步音樂節 in Taiwan, etc).
During pandemic, they launched their official Bandcamp, have released more than 60 albums (including many unreleased materials), and have toured in Japan in each year. And they played the streaming festival “Levitation Sessions”. They organized “Acid Mothers Olympic 2021” against “Tokyo Olympics 2021”, they originated and played a new style of “music sports”. Finally the group went to the first European tour in Autumn 2022 and North American tour in Spring and Autumn 2023, after pandemic. 2024, the group will tour in Europe in Spring and North America in Autumn.
The current touring line-up is: Kawabata Makoto, Higashi Hiroshi, Satoshima Nani, Sawano Shozo and Jyonson Tsu since 2022.
Acid Mothers Temple & The Melting Paraiso U.F.O. :
Kawabata Makoto : guitar, speed guruHigashi Hiroshi : synthesizer, fishin’godJyonson Tsu : vocal, guitar, bouzouki, midnight whistler Satoshima Nani : drums, another dimensionSawano Shozo : bass, hex man
Momma
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
November 21, 2025
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Momma
Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma’s new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets.
Narrow Head
Truly great pop songs do not require a cheery outlook in order to work, nor do they pander to expectations of syrupy sweet easy-listening. Rather, the best pop music is a matter of refinement and pure intention, of dialing groove to melody so that the two might puncture the malaise of everyday living in unison, revealing some brief, sober truth about our shared human condition. On their third LP, Moments of Clarity (Run for Cover), Narrow Head have achieved precisely this feat. Traversing the depths of massive, churning riffs, often distorted to the point of violence, bouncing, lock-grooved rhythms, and crystalline, gorgeously constructed hooks, the Houston-based outfit puts on a masterclass in the art of writing songs that match the pain, pleasure, and confusion of modern living. Each track is sentimental without being precious, heavy without unnecessary griminess, pop-forward without letting the listener off the hook easy: these songs ask for some form of hurt or desire to be paid back to them in return, some promise that the listener is putting equal skin into the game.
The record’s title came to vocalist/guitarist Jacob Duarte in an ambient, almost haunting fashion. The months surrounding the release of their prior record, 12th House Rock (Run For Cover, 2020), were marked by a series of personal losses and spiritual trials. Throughout the writing process of this most recent record, the turn of phrase “moments of clarity” appeared to materialize wherever Duarte looked in an almost serendipitous fashion, be it while listening to the radio or talking with friends at the bar. The notion of moments clarity seemed to coalesce as if it were a totem to the desire to keep on living, a counterweight to the self-inflected damage and depravity that defined much of 12th House Rock’s lyrics. “The phrase created a space for me to reflect upon my own life,” Duarte admits, “since our last record I’ve had plenty of moments of realization like that… when you experience friends dying, you’re forced to see life a little differently.”
Moments of Clarity reflects this matured sense of purpose. Longtime Narrow Head fans will undoubtedly still recognize the band’s signature marriage of brutality and grace, and many of the core themes of desolation, loss, and self-medication that the band established on their prior records Satisfaction (2016, re-issued by Run for Cover in 2021) and 12th House Rock (2020, Run for Cover) continue to haunt the edges of Moments of Clarity. All the same, Moment of Clarity rises above the darkness with a sense of elegant repose, like a butterfly-winged figure-skater skimming the hardened rim of a freezing black lake. While not exactly optimistic in outlook, these songs simmer with a certain life affirming desire, a burning passion to transcend pure cynicism and self-destruction, if only for even a few seconds.
The record’s opening track, “The Real,” wastes no time establishing Moments of Clarity’s overarching themes, diving headfirst into the pains and pleasures of carrying on living, as well as the unending struggle of attempting to approach honest self-reflection. The song’s streamlined chorus, “how good does it feel, to be you, to be real?,” strikes like a double-entendre, reading equally as a dose of softened, self-deprecating cynicism, as well as a sigh of ecstatic relief at having reached a temporary state of weightlessness. These are the competing thematic poles which the ensuing entirety of Moments of Clarity straddles: bleak solitude gushing into the sudden tranquility of an unexpected oasis, loneliness becoming communion, communion becoming loneliness once more. The title track evokes images of numbed psyches and deep loathing, yet all the while holds out a sense of forgiveness in not knowing how to get better, a sense of forgiveness in the fact that, “it’s ok to say you want more.” Certain tracks carve out space to celebrate the faith and recognition found in the company of others (“You fall into me, Caroline, don’t go” – “Caroline”), while others plunge the listener back into the thickets of desperate reclusiveness (“Alone again is time well spent, alone forever falling” – “Gearhead”), dashing any sense of permanent bliss, yet without moralizing the desire to want this bliss all the same. A sense of cold stillness permeates the record’s lyrics, evoking the learned grace one inherits from staring down the pains of living without fully succumbing to them. As Duarte sings on the penultimate track “The Comedown”: “For what it’s worth I’m turning over, and you should know I’m growing older. I lost myself, and it feels so good.”
This newfound lust for life is baked into the essence of the songs themselves. Each riff, melody, and drum fill has been rigorously constructed and pushed towards its most simplified, base instinct. There are no frills or unnecessary ornamentation, only pure sensation in the absence of conscious thought. Duarte credits the presence of Sonny DiPerri (NIN, Protomartyr, My Bloody Valentine), who recorded, mixed, and produced the record, with elevating Narrow Head’s sound. Prior to recording, the band spent a week with DiPerri at a house in Sherman, TX, reworking and refining the record with a sense of surgical intent, sculpting each melody and hook until it had reached its logical conclusion. “Sonny really pushed us early on,” Duarte notes, “he’d sit us down and say, ‘you guys are heavy, these choruses are good, but you shouldn’t be afraid to take this all the way and make it an actual pop song.’” The band then relocated with DiPerri to Jeff Friedl’s (Devo, A Perfect Circle) home-studio in Los Angeles, where they completed the tracking of the record under the reprieve of an uncharacteristically mild Californian late-summer.
The addition of Kora Puckett (Solo, Bugg, Sheer Mag), who was promoted from touring guitarist to permanent band member following the release of 12th House Rock, further bolstered the writing process, expanding the band’s traditional songwriting trio of Duarte, guitarist William Menjivar, and drummer Carson Wilcox and pushing the songs towards a broader-minded, arrangement-by-committee register. An ecstatic sense of group cohesion shines through in each individual performance. The songs on Moments of Clarity lurch and pulse with a sense of breathless, single-minded determination, reflecting the fine-tuned tightness of a band coming off of a heavy touring cycle for 12th House Rock that saw them play alongside the likes of Quicksand, Turnstile, Gatecreeper, Chubby and the Gang, Young Guv, and Fury. The band eschews any sort of overt reliance upon studio effects in order to convey dynamic shifts, leaning instead upon the strength of the songwriting itself, as well as their intimate familiarities with one another as musicians, to carry the momentum of each track directly.
Both the band’s collective synergy and intense sense of purpose help to propel the songs on Moments of Clarity to soaring new highs. The title track tunnels through a thick morass of sticky rhythms like a mechanical worm before finally emptying out into the light of day, exposing a melody so triumphant and stadium-sized in its confidence that it almost seems to channel the ghosts of Knebworth 1996. “Caroline” captures the band at their most nakedly pop-inflected moment yet, washes of melodics and A/B song-structures subsumed in an ocean-spray of glimmering distortion, creating an effect akin to a teenage emo kid on trucker speed discovering the primal joy of The Cleaners From Venus for the first time. On the other end of Moments of Clarity’s sonic spectrum, “Gearhead” finds Narrow Head approaching new depths of heaviness. Fueled by a massive riff that nods towards the pure evil, “everything is bigger in Texas” attitude of their friends in Power Trip, Iron Age, and Mammoth Grinder, the band unravels syncopated bursts of pummeling kinetic energy, weaving between subtly gripping melodies and utterly bleak breakdowns in unison like a cracking digital whip. Solitude, melancholy, and revelation bleed into each other throughout the LP, transporting the listener through a vast terrain of emotional spaces, from industrial drum samples and erotic self-sabotage (“Flesh and Solitude”), to drawling Midwestern-inflected depression and acoustic guitars that evoke the hum of dawn as it breaks in a freezing living room (“Breakup Song”; “The Comedown”), to synth lines that sound like a ghost fizzing through the speakers of an empty Coney Island parking lot (“The World”) and melon-twisting drum machine pulses (“Soft to Touch”).
With Moments of Clarity, Narrow Head dashes away any shadow of romantic nostalgia or indulgent self-deprecation. Channeling equal parts pop-star cockiness and weathered sobriety, the band has, in the truest and most basic sense, arrived at a record that only they could have written. Moments of Clarity does not speak to or build upon the past. Rather, it cuts straight to the heart of the matter, taking the struggle, brilliance, and mystery of contemporary life as its direct subject.
Jawdropped
Jawdropped formed early 2024 in Los Angeles, California. Each of its members (Cook Lee-Chobanian, Sean Edwards, Kyra Morling & Roman Zangari) orbited one another in the city’s bubbling DIY community, trudging a trail of past projects that eventually brought the band together. Los Angeles courses through their debut EP Just Fantasy, and it’s easy to imagine many of Jawdropped’s witticisms as overheard conversations at local haunts like Zebulon or Permanent Records. “I saw that your dad sent you money on Venmo, he said ‘Anything that’ll keep you stable!,” Morling sings on EP standout “Fantasy,” interstitching signposts of modernity between timeless platitudes. Elsewhere, Zangari sings of “vitamin deficiency, lack of sleep and ketamine,” satirizing the classic Los Angeles come-ups with celebratory melodies that burrow in the mind. The cheeky observations burrowed in Just Fantasy eschew the high horse, and instead poke fun from across the bar. It’s a balancing act between cynicism and optimism, forever falling apart but never giving up.
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