Ally Venable

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 6/5

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Texas blues/rock guitarist, vocalist, and songwriter Ally Venable has made her fiery presence known around the world since the release of her debut album at 16. Now, with her fifth solo effort Real Gone! dropping on Ruf Records March 10th, 2023, Venable has come of age. 

 

At 23, Venable is already an important artist in the roots music world. Her name has grown in stature with each new album and high-energy gig. She’s an absolutely ripping guitar player with style and tone for days, a commanding singer, and a songwriter with the power to make blues music that speaks to contemporary fans. The new record, produced by Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi), features guest appearances by Joe Bonamassa and living legend Buddy Guy. 

 

Venable is that rare musician who can take her old-school influences like Guy and Stevie Ray Vaughan and create music that brings their spirits to today’s listeners where they live. Together with Isaac Pulido (drums) EJ Bedford (bass), she gives audiences an entertaining show packed with musical muscle and relatable songs about living, growing, and evolving. When asked where her songs emerge from, Ally replied “I try to write about what goes on in my life, or try to write about something I know others can relate to. We all go through things and it’s okay to have feelings about something going on in your life.” 

 

The first single from Real Gone! is “Texas Louisiana,” which is a crackling duet with the one-and-only Buddy Guy. Ally and Buddy are an absolute dream team together, intertwining their guitars and voices into one without either losing any identity or impact. The title track “Real Gone” is a straight-up, body-moving rocker that will also be a single. Venable shouts down the microphone like a star while her guitar snarls and sings. 

 

On the soulful ballad “Next Time I See You,” Ally downshifts her vocals and shows every dynamic degree of her impressive range. Her guitar work here is equally lyrical and emotive, displaying a gift for phrasing that few players ever attain. The grinding slow jam “Blues Is My Best Friend” lays out the ups and downs of the guitar lifestyle in no uncertain terms and features some of Venable’s most intense playing and singing on the entire set. Ally’s deep, cliche-free authenticity is the common thread running through every song on Real Gone!. She speaks her mind without hesitation or apology, turning each track into an honest statement of purpose. 

 

In 2022, Guitar World Magazine named Ally one of the Top 15 ‘Young Guns’ Making the Gibson Les Paul Cool Again and she also received the Road Warrior Award from the Independent Blues Music Awards. She performed as a featured artist on the Experience Hendrix Show in Austin, TX and appeared alongside Kenny Wayne Shepherd, Zack Wilde, Eric Johnson, Dweezil Zappa, and other luminaries. 

 

With 2019’s Texas Honey and 2021’s Heart of Fire, Venable found herself topping the Billboard charts. Early releases No Glass Shoes (2016) and Puppet Show (2018) created her fanbase, charted on radio, and won several East Texas Music Awards. Venable’s acclaimed performances on Ruf Records’ European Blues Caravan tour brought her international recognition. She has toured the U.S. with Buddy Guy and Kenny Wayne Shepherd and Canada with Colin James.

 

This year, Ally will be opening for Buddy Guy on his farewell tour, rocking Europe again on the Blues Caravan Tour, and doing her own headline shows domestically and abroad. She’s had a rapid rise to fame but gives off the vibe of someone who loves her life and is ok with it all.

Jaleo @ 191 Toole

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 6/1

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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There multicultural musical heritage has rightly led Jaleo into the top leading performers
in Arizona.
Jaleo, the celebration the festivity and the commemoration, represents their melodic
interpersonal motivation.
With meritorious achievable performances, Jaleo has musically reproduced
impressionistic geographical cadences in their work, offering Afro Cuban, Puerto Rican
and Colombian rhythmical inspiration. Their Multicultural awareness is a musical
interpretation of past and present joy.

Line of Fire

Doors 7PM | Show 8PM | All Ages | Public On Sale 6/1

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

If you went to any punk/HC shows in Tucson from 2003-2013 chances are you saw Line of Fire.
Collin Williams, John Gimmler, Chris “Awful” Barrios, Brian Bollt, and Esteban Bailon(who took over 2nd guitar from Dan Kiss in 2005) who collectively made up the band were regularly involved in the local scene.
They played all over AZ usually in Tucson and Phoenix although they did hit Flagstaff, Sierra Vista, and Bisbee as well. They also did a Southwest tour of CA, NV, UT, CO, NM, and TX.
They’re recorded output entails a debut 3 song demo, a 7 inch, appeared on a couple comps, plus a split cd with other local band Tempers Flare.
Brian (currently in Anchorbaby, Carbon Canyon, and Lenguas Largas) and Chris were also behind the local record label Goin’ Ape Shit! records which put out a lot of local bands.
One of the most memorable shows was one they did at John’s house where they made the video for the song ‘Beer” (which can be seen on YouTube of course. Trigger Warning: don’t watch it if you have a soft spot for vacuum cleaners).
They’re coming out of retirement to play a benefit at 191 Toole for Bass Player Chris’ parents who lost their house and possessions earlier this year in a fire. So dust off your combat boots and schedule some appts with your chiropractor and I’ll see you in the pit.

Ithaca

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 6/2 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Ithaca are one of the most exciting and vital voices in the UK heavy scene currently. Formed out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought a band that makes heavy music should look and sound like. 
 A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical – this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post-punk culture. 
 Their upcoming second album They Fear Us is the sound of a band healing from trauma – standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. In the words of the band: ‘those who oppose us; your sins will catch up to you. You will fear us’. 
 Ithaca’s 2019 lauded debut The Language of Injury was followed by their early 2020 tour with Grammy-nominated indie-rock band Big Thief, starting at London’s Hammersmith Apollo.

The Happy Fits: Under The Shade of Green

Doors 6:30PM | Show 7:30PM | All Ages | Public On Sale 6/1 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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The Happy Fits’ third full-length is a massive leap forward for the New Jersey trio, who have already built a serious following with their energetic and electrifying pop-rock style. At once a showcase of rock-solid songcraft and gleeful experimentation, Under the Shade of Green is a deceptively bright opus that also zooms in on the anxieties and catastrophes of daily life while never losing its irresistibly hooky attitude. 
 Under the Shade of Green is the latest chapter in The Happy Fits’ impressive rise, dating back to their bonding in high school in 2012. Cellist Calvin Langman and guitarist Ross Monteith started playing covers together in earnest, and when Langman revealed some original songs he’d been working on, drummer Luke Davis came aboard to join in a creative genesis that would result in the Awfully Apeelin’ EP from 2016. 
 From the punchy “Dance Alone” to the serpentine riffs of “Do Your Worst,” Under the Shade of Green finds The Happy Fits unloading earworm after earworm—even as darkness looms, as suggested by the album’s cover of a pineapple covered in flaming money. “It’s a metaphor for what we are all seeing and not talking about enough,” Langman says, reflecting on the album’s overall arc. If these songs don’t make you feel alive—well, you might just want to check your pulse.

Creux Lies

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 5/23 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Revered for use of reverb-laden guitar work, creative synth structures, and dynamic vocals akin to the style of many shades of 80’s and early 90’s pop-darkness. Hailing from Sacramento, California. The lineup includes – Ean Clevenger (vox/programming), Barry Crider (guitarist), David Wright (synth/drums) , & Kyle Vorst (bassist). In late 2017, Creux Lies completed their first full-length album via Cleopatra, “The Hearth”, recorded at the creative fantasy-land known as Earthtone Studios (Tera Melos, So Stressed!, King Woman) in their home city under the creative care of producer/engineer extraordinaire Patrick Hills. The last years included seminal performances for Creux Lies, with appearances at WGT, Absolution Fest, Murder of Crows NY, and several other shared stages and tours with a roster of notable acts such as AFI, The Soft Moon, Clan of Xymox, Drab Majesty, Soft Kill, Gene Loves Jezebel, Actors, Vowws, Twin Tribes, and others. Creux Lies is poised for 2021 with the release of their second full-length via the international Freakwave label. Headlining performance antics will ensue promptly. Catch them soon on tour throughout the reaches of the planet.

mssv

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 5/18

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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No less an authority than Nels Cline, the high priest of art-rock guitarists, has called Knoxville’s Mike Baggetta a “guitar poet.” That poetry, alternately gnarled and flowing, is on fine display in Main Steam Stop Valve, the second album by (and the decompressed namesake of) mssv, an experimental rock trio featuring Baggetta, the legendary punk bassist Mike Watt, and the versatile drummer Stephen Hodges.  

The collaboration began when Watt, of The Minutemen fame, joined Baggetta and seasoned session drummer Jim Keltner to record an improvised jazz-rock album called Wall of Flowers, an eight-track romp from pastoral splendor to urban din and back again. When Keltner declined to tour, they brought in Hodges, whose credits as a player include Mavis Staples, Tom Waits, and David Lynch, not to mention Contemplating the Engine Room with Watt.  

Solidified as mssv—some heretofore unimagined hybrid of a punky power trio and a dreamy experimental rock band—they released Main Steam Stop Valve, which blends industrial vigor and impressionistic languor into a lingering impression of “pressure, combustion, power, and hissing clouds of sonic poetry,” as Premier Guitar said. From the throttled surf guitar of “The Mystery Of” and the glimmering post-rock of “Every Growing Thing” to groovy, songful numbers like “Old Crow,” there’s no telling which way the band will turn at any given moment, a proposition that becomes a promise when they break down and reassemble these songs live, with an instinct for restraint and an openness to anarchy.

 

Chris Smither

Doors 7PM | Show 7:30PM | 21 & Over | GA Seated | Public On Sale 5/18 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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Born in Miami, during World War II, Chris Smither grew up in New Orleans where he first started playing music as a child. The son of a Tulane University professor, he was taught the rudiments of instrumentation by his uncle on his mother’s ukulele. “Uncle Howard,” Smither says, “showed me that if you knew three chords, you could play a lot of the songs you heard on the radio. And if you knew four chords, you could pretty much rule the world.” With that bit of knowledge under his belt, he was hooked. “I’d loved acoustic music – specifically the blues – ever since I first heard Lightnin’ Hopkins’ Blues In My Bottle album. I couldn’t believe the sound Hopkins got. At first I thought it was two guys playing guitar. My style, to a degree, came out of trying to imitate that sound I heard.”

In his early twenties, Smither turned his back on his anthropology studies and headed to Boston at the urging of legendary folk singer Eric von Schmidt. It was the mid-’60s and acoustic music thrived in the streets and coffeehouses there. Smither forged lifelong friendships with many musicians, including Bonnie Raitt who went on to record his songs, “Love You Like A Man” and “I Feel the Same. (Their friendship has endured as their career paths intertwined over the years.) What quickly evolved from his New Orleans and Cambridge musical experiences is his enduring, singular guitar sound – a beat-driven finger-picking, strongly influenced by the playing of Mississippi John Hurt and Lightnin’ Hopkins, layered over the ever-present backbeat of his rhythmic, tapping feet (always mic’d in performance).

Smither’s first albums, I’m A Stranger, Too! (1971) and Don’t It Drag On (1972) were released on Poppy Records, home of kindred spirit Townes Van Zandt. By the time Smither recorded his third album, Honeysuckle Dog with Lowell George and Dr. John helping out, United Artists had absorbed Poppy and ultimately dropped much of their roster, including Smither. Smither made his next record in 1985, when the spare It Ain’t Easy on Adelphi Records marked his return to the studio.

By the early ’90s, Smither’s steady nationwide touring and regular release of consistently acclaimed albums cemented his reputation as one of the finest acoustic musicians in the country. His 1991 album, Another Way to Find You, was recorded live in front of an in-studio audience with no overdubs or second takes. This would be the first of two albums with Flying Fish Records. His next recording, Happier Blue, was embraced by Triple A radio and received the NAIRD (now AFIM) award as Best Folk Recording of 1993. Up On The Lowdown (1995) marked the first of a trio of albums to be recorded with producer Stephen Bruton at The Hit Shack in Austin and his first of five albums with roots label HighTone Records. Up On the Lowdown rode the crest of the newly formed Americana radio format wave and sparked considerable interest abroad. A tour of Australia with Dave Alvin and extensive solo touring in Europe led to an expanding global interest in Smither. His song, “I Am the Ride,” from this album inspired the independent film, The Ride, for which Smither also composed the original score.

In early 1997 Smither released Small Revelations. It climbed the Americana and Triple A radio charts and led to concert dates with B.B. King, Bonnie Raitt, Nanci Griffith, and the hugely successful, original Monsters of Folk’ tour with Ramblin’ Jack Elliott, Dave Alvin and Tom Russell. Small Revelations also generated several film projects for Smither. Emmylou Harris recorded his song, “Slow Surprise,” for the The Horse Whisperer soundtrack on MCA. And his recording of “Hold On” was used in the indie feature film Love From Ground Zero. Smither also shared insight into his guitar style and technique on two instructional DVDs, available from Homespun Video.

His CD, Drive You Home Again (1999), garnered four-stars from Rolling Stone. And with it, Smither continued to tour world-wide. Shortly after, in 2000, Smither released his one-man-tour-de-force, Live As I’ll Ever Be. Recorded in-concert at various clubs and concert halls in California, Dublin, Galway, Boston, and Washington DC, it has proven to be a fan favorite, capturing Smither at what he loves to do: performing in front of an audience.

Train Home (2003) was Smither’s last record for HighTone and his first with producer David Goodrich. Over a six-week period, basic tracks for Train Home were recorded in the relaxed environment of Smither’s home near Boston. Working with new session musicians, the record is simultaneously sparse and assured. Bonnie Raitt graciously provided backing vocals and slide guitar on Smither’s cover of Bob Dylan’s “Desolation Row.” And Smither’s “Seems So Real” from the CD earned a Folk Alliance Award as “Song of the Year.”

In 2005, jazz great Diana Krall covered “Love Me Like A Man,” introducing what is now a blues standard to a whole world of jazz fans. Shortly after, Smither’s song “Slow Surprise” was included in the independent film, Brother’s Shadow. In addition, Smither narrated a two-CD audio book recording of “Will Rogers’ Greatest Hits.” Continuing to expand his creative horizon, Smither was invited to contribute an essay to Sixty Things to Do When You Turn Sixty, a 2006 collection of essays by American luminaries on reaching that milestone. In 2009, Melville House published Amplified, a book featuring 16 short stories by notable American performing songwriters. Smither’s story Leroy Purcell about a touring musician’s encounter with a Texas State Patrolman leads off the collection.

With the release of his 12th recording Leave The Light On (2006) on his own imprint, Mighty Albert, Smither began a new label relationship with the renowned acoustic and modern folk label, Signature Sounds. For the recording, Smither reunited with producer David Goodrich and session musicians Mike Piehl, Lou Ulrich and Anita Suhanin. As an added treat, Smither invited good friend and Grammy Award-winning multi- instrumentalist, Tim O’Brien, along with rising American roots stars, Ollabelle, to add their distinctive talents on several tracks. Smither followed this with Time Stands Still (2009), his most stripped down recording in some time, working with just two accompanists after the same trio had played a rare band performance – a non-solo setup required in order to play a Netherlands festival.

About the recording Smither says, “We’re the only three guys on this record, and most of the songs only have three parts going on. We had a freewheeling feeling at that festival gig, and we managed to make a lot of that same feeling happen in this record.” In 2011 Smither put out two fan projects: a collection of live tracks from newly discovered concert recordings from the 1980s-1990s titled Lost and Found and the rollicking EP, What I Learned in School, on which Smither covered six classic rock and roll songs.

Smither followed these fan-projects with Hundred Dollar Valentine (2012), a ★★★★★ (MOJO) studio record of all Smither-penned songs. With longtime producer David “Goody” Goodrich at the helm, this collection sported Smither’s trademark acoustic guitar sound and evocative sonic textures meshed with spare, brilliant songs, delivered in a bone-wise, hard-won voice.

In 2014 Smither released Still on the Levee (2014) – a double-CD retrospective. Recorded in New Orleans at the Music Shed, this career-spanning project features fresh new takes on 24 iconic songs from his vast career and some very special guests including the legendary Allen Toussaint and Loudon Wainwright III.

The coffee table style book Chris Smither Lyrics 1966-2012 and Signature Sounds’ Link of Chain – an all-star tribute record including a stellar list of artists offering their takes on some Smither favorites including Josh Ritter, Bonnie Raitt, Loudon Wainwright III, Dave Alvin, Peter Case, Tim O’Brien, Patty Larkin, and many others were fan-favorite accompaniments to the retrospective CD .

In March 2018, Smither released his eighteenth record, Call Me Lucky (Signature Sounds/Mighty Albert) once again teaming up with producer and multi-instrumentalist David Goodrich. Also joined by Billy Conway (Morphine) and Matt Lorenz (The Suitcase Junket), Smither recorded eight new originals along with some very special and surprising covers at the Blue Rock studios in the Texas hills in June 2017.

In October 2020, More From The Levee, the followup to the 50-year career retrospective Still on the Levee, was released.

Acoustic Guitar: Smither sings about “the big things – life, love, loss – in a penetrating and poetic yet unpretentious way.”

The Expendables

Doors 7PM | Show 8PM | All Ages | Public On Sale 5/19 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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The Expendables haven’t proven anything, but in their nearly 25-year career since starting out as a spirited party band in high school performing surf-rock covers for birthdays and family gatherings. A quarter-century later, elementary school buddies Raul Bianchi, Adam Peterson and Geoff Weers, along with bassist Ryan DeMars, who joined in 2000, have forged a unique sound born in the laid-back beach life in their hometown of Santa Cruz, CA. The Expendables’ infectious hybrid of ska, surf-rock, punk, reggae and metal can be heard in their latest streaming track, “Surfman Cometh,” a spaghetti-western meets “Pipeline” twang that could easily form the soundtrack to the latest Quentin Tarantino film. The song is the first release from the group’s new and improved Band Room, their longtime rehearsal space in a 1,100 square foot warehouse and former wine cellar on Coral Street, where Adam Patterson took charge of the final mix to great effect. The band’s previous studio album of original material, 2015’s Sand in the Sky, was followed by The Expendables’ second release featuring acoustic reworkings of past material, Gone Raw, 2019’s follow-up to 2012’s Gone Soft. The Expendables continue woodshedding until they can get back out on the road. Their 2017 Moment EP, which debuted at #1 on the Billboard Reggae chart, showed a different musical direction, featuring collaborations with reggae crooner HIRIE, rapper Tech N9ne, Eric Rachmany, and Micah Peuschel.

Jean Dawson

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | INSTAGRAM | TWITTER | LISTEN

Jean Dawson is a leader amongst a newly-born generation of kids straddling multiple cultures and worlds, operating comfortably within their own skin. His music serves as a score for the life-and-times of kids like him (us). His one-of-a-kind sound and impact on the current music landscape have caught the attention of notable artists such as SZA, Miguel, and A$AP Rocky, all of whom have worked in the studio with Jean recently. Through his first two projects, Pixel Bath and Bad Sports, Jean has amassed millions of streams and garnered large critical acclaim by NPR, i-D, The Fader, Paper Magazine, Pigeons & Planes, NME, MTV News, Remezcla, Hypebeast, Essence, Nylon and many more.

26-year-old Jean Dawson is equal parts musician and visual artist. Half Mexican and half Black, he was raised in Tijuana and San Diego near the border. His love for music was ignited during his daily five hour treks across the Mexican / American border to attend school in the US. He came up listening to the rock and rap that his multicultural parents loved, as well as the Latin sounds that surrounded him. Raised by a single working class Mexican mother, he leaned into art and began challenging notions of hyper-masculinity that line Mexican and Black cultures. To this day, his art continues to be rooted in these values and his extraordinary life journey.