Space Ballroom Weekly Round-up: 5 shows announced, including Carbon Leaf

Space Ballroom announced Delvon Lamarr Organ Trio, Broncho, Woods, Oranssi Pazuzu, and Carbon Leaf this week. Tickets are on sale now at spaceballroom.com

Delvon Lamarr Organ Trio
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
March 27, 2026
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Broncho
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
April 21, 2026
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Broncho

A Decade of Double Vanity celebrates ten years of the album that cemented BRONCHO as one of the most singular voices in modern American rock. Released in 2016, Double Vanity sharpened the band’s blown-out pop instincts into something both feral and melodic, equal parts garage grit, warped romance, and neon-lit melancholy. Critics praised the record for its raw immediacy and emotional punch, and fans quickly turned it into a cult classic that still defines the BRONCHO live experience today.

The impact of Double Vanity extended well beyond BRONCHO’s own fanbase. In 2017, the band were personally invited by Queens of the Stone Age to open the European leg of their Villains arena tour, introducing BRONCHO’s blown-out pop hooks and off-kilter swagger to massive crowds night after night. The invitation underscored the reach and resonance of Double Vanity, whose raw immediacy, rhythmic looseness, and unpolished charm aligned naturally with a lineage of artists admired by figures like Josh Homme, and helped solidify BRONCHO’s reputation as a band equally at home in sweaty clubs and on arena stages.

Songs like “All Time,” “Fantasy Boys,” “I Know You,” “Two Step,” and the album’s original radio single “Señor Borealis” have since become permanent fixtures in the band’s setlists, sweaty, sing-along anthems that blur the line between punk abandon and pop devotion. On this tour, Double Vanity will be performed in full each night, front to back, the way it was meant to be heard: loud, loose, and alive. Each show will also feature hits, fan favorites, deep cuts, and surprises spanning all five BRONCHO albums, including selections from last year’s critically acclaimed Natural Pleasure, a record that showcased a more streamlined, confident side of the band, sleek, nocturnal rock songs driven by pulse, melody, and an effortless cool.

A few nights on the tour are especially meaningful. New York City and Chicago will each host very special two-night stands in some of the most intimate, beloved rooms in the country. At Bowery Ballroom in NYC (4/24 & 4/25) and Empty Bottle in Chicago (4/28 & 4/29), BRONCHO will perform Double Vanity in full one night, followed by their landmark album Just Enough Hip To Be Woman in full the next. These smaller-capacity venues bring fans closer than ever to the band, turning these shows into rare, up-close celebrations rather than standard anniversary performances.

Just Enough Hip To Be Woman introduced BRONCHO’s bona fide indie hit “Class Historian,” a slacker-pop classic whose swagger, hooks, and restless spirit helped propel the band onto a larger stage and into the modern indie canon. Together, these four nights offer a rare chance to experience two defining albums, two eras of BRONCHO, played loud, loose, and in rooms where every note hits harder.

A Decade of Double Vanity isn’t a look back, it’s a reminder of why these songs still matter, and why BRONCHO remains one of the most electrifying live bands on the road.

Woods
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
May 20, 2026
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Woods

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial.

Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves.

Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks.

The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode–shimmering, familiar, fractionally unsettling–but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel.

Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges.

For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound.

Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do.

Oranssi Pazuzu
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
May 26, 2026
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Oranssi Pazuzu

Four years in the making, ORANSSI PAZUZU spew forth their latest mutational meisterwerk, Muuntautuja (or Shapeshifter in English) set to be released on October 11th,, 2024 via Nuclear Blast Records. A boa constrictor of slithering, warping, interdimensional cosmic horror, Muuntautuja is in a world of its own, seeping through the speakers like irradiated sand. Ever transmuting, unsettling chords that raise the hairs on the back of your head and then pummel it with nauseating rhythms that both transport and destroy you. Muuntautuja is like an encounter with a maleficent being, well and truly unhinged, that’s out to mess with your brain. Where delays distort in a dust cloud, riffs are white noise discharge and time signatures interweave, to create the genre that ORANSSI PAZUZU inhabits alone. A convulsing mass on collision course, the air-borne sonic viral load of Muuntautuja is undeniably infectious, and bound to turn heads.

If Nasa discover a new form of metal element under the surface of Mars they would have to call it ORANSSI PAZUZU, a band that’s uncharted and pushing the boundaries of what heavy, extreme music should sound like. From their first spaced out underground Black Metal album Muukalainen Puhuu (2009), to second album Kosmonument (2011), their first album to get wider distribution, to their then-next record Valonielu (2013), which saw them delve deeper and weirder into Psychedelic Black Metal, setting the stage for Värähtelijä (2016), arguably their breakthrough record, ORANSSI PAZUZU have been impossible to pigeon-hole and a feast for those who dig deep, heavy and strange.

Not so much a reinvention of form as a creative zenith, where ORANSSI PAZUZU have struck a vein of gold in the wasteland, the irony of it is that Muuntautuja sounds like the album they have been diligently mining all along. Dense, ferocious, glistening, blistering and buzzing, Muuntautuja is like tuning in and dropping out to hostile alien signals. The title of the album, meaning Shapeshifter, is a perfect description of the ORANSSI PAZUZU that emerged from their extraterrestrial cocoon in 2024. A new form of being, but whose flesh is eerily familiar, Muuntautuja sees ORANSSI PAZUZU contort their signature noise into something truly fearsome from their critically acclaimed previous album Mestarin kynsi (2020). Noise has always been a part of the classic Black Metal sound but Muuntautuja takes it to a more shattering and violent culmination.

Bass player Ontto elaborates on Muuntautuja’s explosion of experimental and harsh sound when he talks about “noise as a compositional tool” and adds: “The noisier and the more experimental stuff came from a necessity to reinvent the way we were writing songs. The change was already in motion on Mestarin kynsi, but on the new album we really felt we wanted to shed the old skin and find new angles.”

Vocalist Jun-His agrees when he states:
“We felt that we could express things that we have been only flirting with previously. The noisier experiments started happening during live versions of Taivaan portti from the previous album, and it felt good to not leave it to that, but to expand on it.”

When the protagonist of a movie or novel starts to unravel, and the world becomes malevolent, we’d imagine introducing the beginning of the track ‘Ikikäärme’, and let the celestial science fiction of it’s sound-track take us to Ari Aster or Robert Eggers like cinematic terror. Undercurrent layers swell in an alien language, inescapable and claustrophobic. Gestating a new form of metal in their host bodies, humid, equatorial and febrile, on Muuntautuja, ORANSSI PAZUZU constantly transpose and shift key, leaving us high and dry, exposed in space with no umbilical for air.

If we delve into the centre of Muuntautuja, there is pure darkness. As the lyrics of ‘Hautatuuli’ (or “Grave Wind” in English) repeat in whispered, mantra-like succession, “gate behind a . . .gate behind a”, behind the gate there is a gate and we have to keep entering the many levels of the album’s sonic symbolism. The layers of initiation ORANSSI PAZUZU are discussing are present in their music. A resonant ritual of layers upon layers, rhythms upon rhythms. If you pass through all the gates on Muuntautuja, you find the center and that is a darkness that’s impossible to illuminate.

From the depiction of the mayhem of war in the tracks ‘Voitelu’ or themes of mass manipulation in ‘Bioalkemisti’, Muuntautuja’s concepts are colossal. The themes reach an almost mythical and religious element where Ontto explains: “In the more atmospheric tracks the subjects are introspective and mystical – Muuntautuja deals with the idea of death as a transformation into a different state of being, and ‘Ikikäärme’ is a fantasy about pursuing immortality, by becoming united with a god snake after being devoured by it.”

Drawing inspiration from eclectic sources ranging from Boredoms, Death Grips to Portishead’s Third album, ORANSSI PAZUZU mold their psychedelic alchemy into a potent brew where a tripped out Godflesh creates an alien being with Nine Inch Nails (Downward Spiral era), Beherit and My Bloody Valentine. The result is that Muuntautuja is electronically charged, both organic and inorganic in origin.

Guitarist Ikon reflects:
“Our experimentation with samplers and electronics made us step towards the weird concept of making nightmarish Rave music. We tried to find common ground between danceable rhythms and oppressive waves of noise and distortion.”

Muuntautuja transcends genre, embodying a transcendent experience that slimes listeners in its nightmare of space and metamorphosis. Jun-His muses, “For us, this album is like a sculpture made of black electric ooze.”

Await the release of Muuntautuja, ORANSSI PAZUZU’s fire in the sky, where reality bends and shapes shift with each and every haunting note, and you will be visited by higher beings, though not with your best intentions entirely at heart.

Carbon Leaf
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
June 11, 2026
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Carbon Leaf

Carbon Leaf’s fifteenth studio album, Time is the Playground is both a call to action and an embrace of the moment. Marrying nostalgic storytelling to nuanced, folk-infused indie rock, the Richmond, Virginia band embroiders heartfelt melody and harmony with acoustic and electric instrumentation to create a 12-song rumination on time, love and personal growth that’s equal parts urgent epiphany and contented exhalation.

“Everybody says people don’t listen to albums anymore,” mulled Carbon Leaf frontman Barry Privett, holed up in a coastal cottage. “So, the challenge for us was to make something that felt good to get through from beginning to end … to listen to like a story.”

Originally formed as a college cover band in 1992 and with over 3,500 famously enthused live shows together, Carbon Leaf helped to define the aughts indie rock that they ultimately outgrew and outlasted. They first earned national recognition with “The Boxer,” a song that won the American Music Awards 2002 New Music Award and made Carbon Leaf the first unsigned band to perform before millions on the AMAs.

“The Boxer” entered regular radio rotation, Carbon Leaf’s tours grew bigger and better, and within a couple of years they quit their day jobs and inked a record deal. The band’s fanbase snowballed, drawn to their infectious spirit of commitment, empathy, communion, and self reliance – not to mention supremely crafted songs with ultra-relatable, thought-provoking lyrics.

After a trio of charting albums for Vanguard Records, multiple songwriting awards and headlining shows, Carbon Leaf opted to return to the complete creative control of their indie roots. Guitarist Terry Clark, who co-founded the band with Privett and multi-instrumentalist Carter Gravatt, converted his garage into the band’s Two-Car Studio, where they’ve recorded releases for their own Constant Ivy imprint ever since. Carbon Leaf’s DIY spirit even extended to re-recording their three Vanguard albums in order to regain the rights.

Due in September, Time is the Playground is Carbon Leaf’s first full-length album in a decade, during which they released two EPS and a 27-song live performance album and Blu-ray. Time is the Playground gathers the best of songs written, in fits and starts, over 15 years, alongside brand new ideas. Privett dusted off old demos and shut himself away for months to finish their stories, while also honing recent compositions. With Clark engineering, Carbon Leaf – completed by longtime bassist Jon Markel and drummer Jesse Humphrey – spent a year and a half recording and mixing the resulting songs.

“Thinking about these disparate pieces of music, I began ruminating on time itself,” Privett recalled. “The band’s been together a long time. You mature a bit and see yourself in place on the timeline … rolling around the scenes of love and growth.”

Masterfully melding saturated AC/DC guitar and squelchy Cars synth, “Backmask 1983” is a fun flipbook of evocative era emblems – Farah Fawcett, “Satanic Panic,” Time Life Books, Bigfoot and more – that traverses the simultaneous nexus of Privett’s childhood/adolescence and the

world’s analog/digital ages. It’s about morphing into a new person and a new planet with wide eyed wonder and a longing to believe. “Without a whole lot of information, the mystery of things felt so heightened,” recalled Privett of growing up pre-Internet. “I wanted to capture some of that but also have fun with it.”

“I want what we create to resonate with ourselves, to the level that we want to play it for a long time to come, and where we want others to hear it and experience it,” Privett concluded. “Hopefully, listeners can glean the pieces from it that they identify with.”

Time is the Playground will be accompanied by the tireless touring almost synonymous with Carbon Leaf, who’ve become a model for self-managing bands in the digital landscape.

Don’t miss

• Ferguson Library announces February programs for children and teens
• Post Malone, Jelly Roll bring “Big Ass Stadium Tour Part 2” to East Hartford
• Mohegan Sun FanDuel Sportsbook to host big game watch party on February 8

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February events at Fairfield Theatre Company

2/6 – Couch
2/7 – Jackpierce
2/7 – Mystic Bowie / Bob Marley Birthday Bash Ft. Talking Dreads
2/13 – Gabe Dixon
2/13 – Mystic Dead
2/15 – Young Dubliners
2/18 – James Canning
2/19 – Mad Dogs & Englishmen
2/20 – Phoebe Katis
2/20 – Pink Talking Fish Ensemble
2/21 – Masters of the Telecaster
2/24 – Oscar Shorts – Live Action
2/26 – Matilda The Musical
2/26 – Oscar Shorts – Animation
2/27 – Matailda The Musical
2/27 – Zebra
2/28 – Matailda The Musical

Click here for more information & order tickets.

Learn to cook this winter with AMG Catering

AMG Catering & Events in Wilton, Connecticut, is kicking off 2026 with a brand-new culinary class series packed with bold flavors, global inspiration, and seasonal comfort. Each session offers hands-on instruction, perfectly paired beverages, and a full menu of dishes to make together — all designed for home cooks of every skill level who love great food and a fun night out. Classes start January 14, 2026.

Click here for more information.

February events at PeoplesBank Arena

2/6 – Ricardo Arjona, click here to purchase tickets
2/7 – Butler vs UConn Women’s Basketball, click here to purchase tickets
2/7 – Providence Bruins vs Hartford Wolf Pack, click here to purchase tickets
2/20 – Utica Comets vs Hartford Wolf Pack, click here to purchase tickets
2/21 – Boston College vs UConn Men’s Hockey, click here to purchase tickets
2/21 – Belleville Senators vs Hartford Wolf Pack, click here to purchase tickets
2/25 – St. John’s vs UConn Men’s Basketball, click here to purchase tickets
2/26 – Georgetown vs UConn Women’s Basketball, click here to purchase tickets

Connecticut Merch

Finding Connecticut’s patriotic merch celebrates state pride and American spirit, just in time for the lead-up to America 250. Featuring classic red, white, and blue style, the collection is a nod to where we’ve been and where we’re headed. As the nation prepares to mark 250 years in 2026, these pieces are an easy way to show pride in both Connecticut and the broader American story—past, present, and future.

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Gourmet Cookies

Indulge in Keksi gourmet cookies, featuring classic flavors such as chocolate chip and snickerdoodle, as well as new monthly creations. Made with the highest quality ingredients, each bite is a delicious treat. Perfect for any cookie lover!

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Space Ballroom Weekly Round-up: 5 shows announced, including Carbon Leaf