District Music Hall Weekly Round up: 3 shows announced, including Indigo De Souza

District Music Hall announced Asleep at the Wheel, this week. Tickets are on sale now at districtmusichall.com

Asleep at the Wheel
District Music Hall – 71 Wall Street, Norwalk CT 06850
August 14, 2025
Tickets are on sale now via districtmusichall.com

Asleep at the Wheel

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an ambassador of Western swing music and introducing its irresistible sound to generation after generation. More than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 30 albums, ten Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the greatest singers and players,” Benson explains. “When someone joins the band, I say, ‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear how they interpret what we do. I’m just a singer and a songwriter, and a pretty good guitar player, but my best talent is convincing people to jump on board and play this music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King, their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest release, Half A Hundred Years , Asleep At The Wheel continued their contributions to the American music landscape when three original members of Asleep at the Wheel—Chris O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music, even though some of its members and audiences represent a new generation. That far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

Indigo De Souza
District Music Hall – 71 Wall Street, Norwalk CT 06850
October 25, 2025
Tickets are on sale now via districtmusichall.com

Indigo De Souza

There are moments standing on a high ledge where wild space beckons. In that moment, instinct stirs: “What if I just jumped?” It’s been described as “the call of the void,” an experience somehow more primal than even feeling or urge. On her new album, Precipice (due July 25th via Loma Vista), Indigo De Souza looks over the creative and spiritual cliff and just leaps. The North Carolina native is a prolific, poetic singer-songwriter who already has three albums and four EPs in just seven years, with her most recent full-length (2023’s All of This Wild End) earning rave reviews for her daring vocals and thrilling songwriting. But on her latest, De Souza hears the void calling and calls back, taking control of difficult memories and charged emotions via pop bombast and diaristic clarity, and finding a stronger self. “Life feels like always being on the edge of something without knowing what that something is,” the singer-songwriter says. “Music gives me ways to harness that feeling. Ways to push forward in new directions.”

On the album’s title track, De Souza faces down the potential darkness of change, and finds hope in surrendering: “Coming to a precipice/ Holding on for dear life/ Looking out into the world/ Everything has gone dark.” That sort of emotional daredevilry is definitively not new for De Souza. Her catalog brims with unwavering honesty and unflinchingly personal songwriting, including most recently the familial excavation on the pained and mighty All of This Will End. “I feel constantly on the precipice, of something horrible, or something beautiful–something that will change my life for better or for worse,” De Souza muses. To that end, Precipice cracks De Souza’s world open. As a new challenge, the songwriter took on blind studio sessions in Los Angeles, reveling in the expanded pool of collaborators and ability to focus on music. “I’d been wanting to work on more pop-leaning music for a while, so when I came out to LA I made sure to meet with people that could help bring that to life,” she says. “I wanted to make music that could fill your heart with euphoria while you dance along.”

In those sessions, she made a quick and deep connection with producer Elliott Kozel—a musician who has produced and collaborated with the likes of SZA and Yves Tumor, not to mention scoring TV with FINNEAS. The two quickly got to work on album highlight “Not Afraid”, the track setting the tone for the album’s bold defiance of the unknown. “What, what does it look like, when you are free?/ When you are being true?/ When you let go, the people you love are free when they’re with you too,” she sings. The track also signaled the start of a long and important collaboration. “Elliott is really good at allowing space for songs to reveal themselves, and I felt very seen and respected both musically and personally,” De Souza adds. “That song became a compass for what I wanted the album to be: pop songs with meaning and feeling, pop songs with lyrics that tap into raw humanity.”

Lead single “Heartthrob” exemplifies the ecstatic duality the pair found, a way to both bring immediate energy and thoughtful depth. The track is a fanged rebuke of those who exploit and prey on young people, delivered in panoramic indie rock glow. Multi-instrumentalist Jesse Schuster’s chugging guitar riff pushes De Souza’s delivery into a headrush, her voice wavering somewhere between pain and fury. “God, when I’m a grown up/I wanna have a full cup/A true heartthrob,” she shakes, a satirical jab at the false safety that some adults can exude and an honest cry to inspire light and freedom in the people she loves. “I’ve lived through harmful experiences in my past that are helpful to process through music.” De Souza says. “A way to remind myself that I am still a full human being”

As with so much great pop, Precipice transcends the giddy highs of new attraction and the haunted lows of a broken heart. But true to her idiosyncratic approach, De Souza somehow manages to invert and subvert both, finding their points of connection rather than their differences. The thrumming synthpop of “Crying Over Nothing” exemplifies those new, glistening heights musically, even as the lyrics digest unimaginable heartbreak. De Souza skips over the coyly shuffling rhythm, her voice cracking into the upper register with a warm glow akin to the ‘80s synths. “There’s some pain that follows no matter where you go or how much you try to lose it, pain that comes from memories you can’t erase and love you can’t unfeel,” she says. “This song is about the one that got away. That feeling of being haunted by loss.”

The Robyn-esque “Crush” follows, a sugar burst that subtly weaves its way across the dance floor. “Come up to get some air/ It’s like you’re playing solitaire/ So good to see your face/ I was missing you when you were down there,” she sways, the knowing grin practically beaming through the track. The embodiment of catching feelings, “Crush” rides a gritty snap-pop drum loop from percussionist Jonathan Smith and tingly synth prickles. “I remember thinking about how, in the same way that I sometimes have to talk new lovers through eating me out, I also have to help them understand how to care for me in ways that make me feel good and seen,” De Souza blushes.

But of course even the most hypercharged crushes can crumble—and the sighing “Heartbreaker” was written when the person she was falling for on “Crush” eventually broke her heart. While De Souza’s voice acrobatically flickers across the rest of the album, here she delivers this pained memory more simply, with her full throat: “When I wake up, still thinking that you’re there/ And it all comes flooding back to me, I’m living in a nightmare,” she cries, churning piano and ghostly guitar floating in the edges. “I was broken up with, and I flew out to LA as quickly as possible so I could get to the studio to make a song instead of being at home, sad and lashing out,” De Souza recalls. “My heart was fully soaked in poisonous pain, and I am deeply grateful for the creative space to process what I was feeling.”

On album highlight “Be Like the Water”, there are times where you can practically feel the tears dripping on the microphone. But rather than mourning, these are tears of awe, a song of amazement at the possibility of living truly and on your own path. “It’s about being brave and protecting your energy, following your gut,” De Souza says. “It’s a reminder that you can always follow your heart and your spirit, but you can also make boundaries and choose your own direction.” To achieve that spiritual depth, Kozel’s production bends between mantric ethereality and golden Americana. Spectral synth tones and finger chimes play like a yogic drone, while gleaming organ puts a direct frame on De Souza’s verses. “I won’t be sorry/ And I won’t be silent/ I’m temporary/ I am an island,” she sings, her ownership of herself overcoming the pains that pervade the album.

There are points in life where the precipice feels furthest from our control—something De Souza faced in late 2024, as Hurricane Helene ravaged the East Coast of the United States. Though her recently finished album showed the buoyant joy of change, De Souza’s flooded home and destroyed belongings represent its potential tragic side. When not in the thick of clearing the mess and helping her community recover, she continued to return to music as a comfort, already having written another album worth of breathtaking songs. Even when the void seems darkest, De Souza leaps boldly—and on Precipiceshe soars through wild, uncharted territory with open eyes, a full heart, and gritted teeth, finding new beauty even further beyond.

ATREYU with Unearth & Zero 9:36
District Music Hall – 71 Wall Street, Norwalk CT 06850
November 22, 2025
Tickets are on sale now via districtmusichall.com

ATREYU

Arteryu to perform at district music hall in norwalk connecticut in November 2025

ATREYU are a band in the truest sense of the word: friends who come together to create music for themselves, for each other, and for the thriving community that has forged around it.

They are bonds born of time; of joy and sadness; of success and hardship. But most importantly, they are born of an openness that allows five unique creative personalities to unite in something far stronger and far bigger than the sum of its talented parts. It’s what makes ATREYU – frontman Brandon Saller, guitarists Dan Jacobs and Travis Miguel, and bassist/vocalist Porter McKnight – one of the most respected names and potent forces in heavy music, and their live show one of the most heralded on the touring circuit.

“We draw strength from each other and give each other the space and support to be the best, most creative person we can be,” Dan Jacobs explains. “And together, right now, that makes us the best band we’ve ever been.”

He’s not wrong. With a 20-year career and eight acclaimed albums in the rear-view mirror, ATREYU in 2023 are focused only on the present and the future, and a mission to continue shaping and defining the rock and metal scene, just as they have always done since their emergence from Huntington Beach in Southern California.

It’s a journey that has seen them hit stages in the furthest corners of the globe on tour, collect multiple Gold records, amass over one billion streams and unite millions of fans through their social channels. And they’re only just getting started.

Arriving at this point hasn’t been without growing pains expected of any decades’ long relationship. But ask the band and they will tell you that through adversity comes strength, and that the journey has seen them arrive at a destination with sunnier climes than they could ever have imagined.

“It has allowed us to reach a point where we finally feel like we found ourselves,” is Jacobs’ summation. “Everything that we have put out to this point has built to this moment. Something special is happening with ATREYU right now. We can feel the creativity and collaboration when the five of us get in the studio. We can feel the confidence we all give each other when we stand onstage together. And we can see it in the audience when they’re losing their minds. They’re having as good a time as

we are ourselves.”
Where once the band were heralded as the early innovators of the nascent metalcore scene, their place in heavy music’s diverse and boundary-breaking scene has never felt more relevant, with inspirations of pop-punk, hardcore, thrash, ‘80s rock and more melding into a unique and varied sound that has never felt more relevant than in today’s increasingly genreless world.

“It feels like the world has been catching up with the diversity of influences and sounds that we’ve been putting into ATREYU for some time now,” Saller says. “There are no limitations, no barriers.”

To that end, new EP ‘The Hope Of A Spark’ embodies everything that ATREYU have come to be, to mean, to represent. The first new music from the band in 2023, it marks the beginning of the next chapter in the band’s story, and the tantalisingly promise of what the future holds. Each of its four tracks are assorted pieces of an expansive puzzle still taking shape, form and focus.

“These songs are the culmination of our entire artistic endeavours,” McKnight attests. “It’s everything we’ve learned as humans, everything we’ve ingested as musicians, and everything we’ve experienced in this lifetime. It is ATREYU unleashed.”

Produced by long-time collaborator John Feldmann, the new release finds ATREYU reflecting and ruminating on the pressures, pleasures and pains of modern life, each track a snapshot of deeply personal lived and shared experiences with which listeners the world over will identify. Individually profound, yet speaking to a wider meaning as a collected body of work, these are universal truths which presented in song provide catharsis and comfort to its creators.

“The overarching concept is essentially about the seasons of life,” Brandon Saller explains. “Everyone goes through the same things, the ups and downs of life. The emphasis really is the importance of at least respecting those, and finding the positives and the lessons from even your lowest moments.”

In that regard, opening track “Drowning” could not be more apt. Capturing the feeling of being, in Saller’s words, “buried by life”, the track was written as a collective effort into which all of the band pored their own experiences – be it familial health problems that Jacobs’ was shouldering, Saller’s first encounters with feelings of anxiety, or McKnight’s long-running fight with depression. Stark lyrics including “The clouds in my head always block out the sun,” conjure intimate and varying feelings from each, and create a track that could not be more timely in its relevance and importance, standing as emblematic of the environment fostered both inside and around ATREYU.
“As a writer, it’s therapeutic to get our feelings out; music is the best way for us to express ourselves,” Jacobs nods. “And I think that’s why it connects with people, because they hear it and it’s therapeutic to them, too.”

ATREYU fans old and new are sure to find such catharsis throughout ‘The Hope Of A Spark’. “God/Devil” laments a loss of identity, self and faith – a desperate cry for help from a higher power, when our greatest power is one we need to find within. “Capital F” was inspired by Saller’s observations of the human plight he saw in his local community; an imploration, as McKnight suggests, that “we’ve all forgotten the point of this existence, which is us ourselves and our loved ones”. “Watch Me Burn”, meanwhile, is the phoenix rising from life’s trial-by-fire – a call to arms to let renewed hope emerge from smouldering embers and ash.

“To me it’s a song about being cleansed by fire,” explains McKnight. “Whatever it is that’s bringing you down and holding you back, burn it down. Use it, learn from it, move on and grow. That thing does not deserve you and you don’t deserve it.”

“It’s very relatable to all of us individually,” adds Saller, who leads the track’s anthemic, hooky chorus with a defiant cry of ‘Even when flames grow higher / I’ll be fighting till I’m dead.’ “But it’s also incredibly pertinent to the journey of this band.”

Where that journey leads ATREYU next is thrillingly limitless. ‘The Hope Of A Spark’, though, is the open invitation for fans new and old to join them on the ride. And after all, doesn’t knowing the final destination spoil the surprise?

“ATREYU is a place for everyone, us included, to be open and to be themselves,” Porter McKnight concludes. “When you are with us, you are free. Have fun. Make friends. Create memories.”

Unearth

Since 1998, Massachusetts metalcore outfit Unearth have been American standard- bearers for a sound that combines European-style death metal, hardcore punk, melodic thrash, and machine-gun breakdowns. Though its lineup has evolved, founding members and guitarists Ken Susi and Buz McGrath, and vocalist Trevor Phipps, have been constants.

The band has placed five albums in the Top 200 and scored big on both the Rock Albums and Hard Rock Albums charts. Their approach to musical evolution is, to say the least, gradual. Their sound has been stubbornly consistent, from the maniacal urgency of 2001’s iconic Stings of Conscience through to 2011’s Darkness in the Light. Unearth are considered pioneers who have never caved in to changing trends.

Zero 9:36

Siphoning precise raps through a battlefield of distorted guitars and glitchy hues, Zero 9:36 holds up a mirror in his music and beckons reflection. The Philadelphia post-genre sonic insurgent, singer, creative, and rapper rhymes with the force and fire of a prizefighter. After grinding under-the-radar for years and augmenting his signature style with frequent collaborator and producer No Love For The Middle Child, he was signed as the flagship act of ATCO Records. Powered by highlights such as “Leave The Light On” and “WWYDF,” the You Will Not Be Saved EP introduced him while generating 70 million-plus streams.

On its heels, he joined forces with grandson on “Again (Text Voter XX to 40649)” in addition to dropping the acoustic Barebones Vol. 1 EP in 2020. His EP …If You Don’t Save Yourself was released at the beginning of 2021 and instantly caught on. The single “Adrenaline” hit #1 on Mediabase’s Active Rock airplay chart and stands as the #2 most played at the format that year. Zero toured hard and continued releasing steady hits on an endless tour cycle. Tracks like “Stuck In My Ways”, “Break Ft. Atreyu”, and “I’m Not” caught listeners’ ears live and brought them into his world. Upon release, Loudwire raved, “‘I’m Not’ is a banger with Zero 9:36’s nimble lyrical flow playing out over tribal drums and a wall of guitars and electronic backing.” Zero’s latest releases “I Felt It All” and “The Fear” have become fan favorites and mainstays on stations like SiriusXM Octane.

On September 6 2024, Zero dropped his third EP None Of Us Are Getting Out released via a distribution partnership with OneRPM. Led by the heavily-played singles “I Felt It Al”’, “Underneath”, and “Kill Me” the EP represents Zero’s first release as an independent artist and was assembled over numerous sessions and collaborations with No Love For Middle Child, Cody Quistad from Wage War, Landon Tewers from The Plot In You, and others. In his own words, “A project that represents what these last few years have been like. Something special I made with my best friends, and with the help of some artists and producers I’m truly inspired by.”

Adapting to any setting, Zero 9:36 has toured alongside Shinedown, Neck Deep, Three Days Grace, Asking Alexandria, Nothing More, Bullet For My Valentine, Wage War, the Plot In You, among others. His debut headline tour was the Monster Energy Outbreak Tour. Zero has made festival appearances at Welcome to Rockville, Louder Than Life, Inkcarceration, and many others. His collaborations are an eclectic list including Travis Barker and grandson. Hollywood Undead and Atreyu.The Warning and Scarlxrd. Zero 9:36 proudly occupies a lane of his own and in the process has amassed over 400 million streams across DSPs.

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District Music Hall Weekly Round up: 3 shows announced, including Indigo De Souza