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DTSTART;TZID=America/New_York:20260305T190000
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SUMMARY:Nailed Shut MA
DESCRIPTION:NAILED SHUT MA consistently brings a unique raw energy and thoughtful disorder to each and every performance\, delivering a sonic force that pushes New England’s hardcore/deathcore scene to the next level. With punishing yet unconventional vocals\, Asher Thomas creates depictions of bodily and psychological horror through lyricism centered around mental health awareness\, while the band reflects these themes musically through brutal riffs\, tight drum grooves and a gut-wrenching low end. Idioteq Alternative Music says the band’s sound “promises to be a surreal journey…delving into the darkest corners of the human experience.”  In 2023\, the band released their long awaited debut EP\, ‘LUST IN THE END’\, which they have since performed in many iconic venues across the northeast as well as 2024’s Inkcarceration Festival. The band has studied under David Marvuglio (Ice Nine Kills)\, Grammy award winner Paul T. Riddle (Marshall Tucker Band and The Allman Brothers Band)\, and has worked alongside Extreme Vocal Institute’s esteemed vocal coach David Benites.  They have shared the stage with inspiring bands such as All Shall Perish\, Acacia Strain\, Peeling Flesh\, Kaonashi\, and many more. Recently the band began working alongside Unchained Management to further the project’s endeavors. Their energetic performances are sure to knock the wind out of you – Nailed Shut is here and they’re here to wreak havoc.
URL:https://harvardsquare.com/event/nailed-shut-ma/
LOCATION:The Sinclair\, 52 Church St\, Cambridge\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Live Music
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DTSTART;TZID=America/New_York:20260303T183000
DTEND;TZID=America/New_York:20260303T210000
DTSTAMP:20260501T045414
CREATED:20260224T145139Z
LAST-MODIFIED:20260224T145139Z
UID:10001547-1772562600-1772571600@harvardsquare.com
SUMMARY:Spiritual Cramp
DESCRIPTION:  \nSpiritual Cramp aren’t looking for a soapbox. The San Francisco-born punk experimentalists are here to flash a big smile\, flip you off\, deliver a burst of musical adrenaline\, and then keep on walking. “But at the same time\, that’s something that I’m working on\,” vocalist Michael Bingham knowingly grins. And on their upcoming sophomore album\, RUDE (due TK via Blue Grape Music)\, Spiritual Cramp discover a newfound balance between that impish cheekiness\, emotional vulnerability\, and rabid energy. “When you focus on yourself and the people around you\, you can keep your side of the street clean\,” Bingham says. “And when I see the opposite of that\, I get kind of offended\, which is what a lot of these songs are about.” \n  \nFrom the very first seconds of RUDE’s opening track “I’m an Anarchist”\, Spiritual Cramp make it clear what their side of the street is. The record is framed with the tuning of an FM dial and the voice of DJ Crash (played by percussionist Jose Luna)\, introducing Wild 87 Radio and the “San Francisco rude boy sound.” The fictitious radio station takes its name from the band’s original moniker prior to renaming themselves after a song by southern California rockers Christian Death\, and recurs on the album as a way to keep the band grounded in their SF roots. “My foundation is in San Francisco\, California\, and from there I can go anywhere and be who I am\,” Bingham says. The song that follows the radio intro similarly grounds listeners in the Spiritual Cramp musical language\, Bingham delivering tongue-in-cheek sloganeering (“I’m an anarchist\, so leave me alone”) over clap-along sunshine punk. \n  \nWhile Spiritual Cramp have perfected their kaleidoscopic take on rock over nearly a decade\, the gleeful RUDE marks the start of a new era for the band. Bingham and bassist Mike Fenton have been the band’s constants in that time—not to mention having worked on other projects together prior—and wrote the majority of Spiritual Cramp’s songs on their own across a series of lineup changes. But after a seemingly endless tour in support of their self-titled 2023 debut\, their new lineup of Bingham\, Fenton\, percussionist Luna\, guitarists Nate Punty and Orville Neeley III\, and drummer Julian Smith gelled to the point that the co-founders decided to bring everyone into the room for the writing process. “It really helped give color and energy to the whole record\,” Fenton says. The results are nothing short of ecstatic\, bounding between new wave burn\, indie rock swagger\, old-school punk\, and even dub and hip-hop flourishes. \n  \nThe thumping rhythm and chunky guitar riffs of album highlight “At My Funeral” showcase that evolved fusion\, as well as Bingham’s trademark self-deprecating sense of humor. “At my funeral/ Nobody came/ Everybody knew/ My shit was lame\,” he deadpans\, as Punty and Neely’s guitars ping-pong to each headphone. The following track\, “Automatic”\, utilizes similarly muscly\, Clash-indebted guitars\, though this time pairs a neon dance punk swagger with a Killers-esque soaring chorus.  \n  \nAnother major factor in RUDE’s amplified genre experimentation came in the studio\, with Spiritual Cramp working with a producer for the first time. After chatting with a few different potential collaborators\, the band were passed Grammy-winning producer John Congleton’s information. “I didn’t know if it would be a good fit. I’m a high-intensity guy and he seems pretty mellow\,” Bingham says. “I like working with other insane people\, but I learned he’s crazy in the studio. When we met he started talking about Stiff Little Fingers\, the Stranglers\, and Public Enemy\, and I know he’s done everything from indie rock to hip-hop. We’re basically a ‘70s punk band inspired by rap\, so it was a perfect match.” \n  \nThat collision is exemplified in the giddy\, DEVO-addled “Young Offenders”\, where pulsing electronics and a stuttery bridge underpin a fist-pumping punk chorus. “Expensive clothes/ Explosive fights/ There’s no better place everything will be just fine/ Just another warm San Francisco night/ Where everyday is the best day of my life\,” Bingham rahs\, like a sarcastic anthem for yuppie expansion. Throughout RUDE\, the tracks feel dense and lush\, though always full of light and life. “We got crazy in the studio this time\,” Fenton says. \n  \nPerhaps the wildest surprise\, though\, comes via guest vocals from a collaborator that might be unexpected for many listeners: Sharon Van Etten. Bingham and his wife became friends with the indie singer-songwriter after their move to Los Angeles\, and the unlikely pairing sounds absolutely fated on the slow-burning “You’ve Got My Number”. Bingham and Van Etten trade lines in the smoky verses\, building to a thunderous blend of staccato vocals and thumping percussion at the chorus. “You’ve got my number/ But you won’t call me\,” they sigh on the deftly heartbroken track\, before transforming some wordless “ba da ba” into the musical equivalent of putting on a brave face after a breakup. \n  \n“People sometimes think of us as ‘just’ a punk band\, but we love indie rock and were so honored Sharon would sing on one of our songs\,” Bingham says. “For whatever reason I thought a reggae song with a big rock chorus would be perfect for her\, and she sounds incredible.” And for the Spiritual Cramp singer\, it’s more than just vocal admiration. “I’ve always said I want to be the Sharon Van Etten of punk\,” he smiles. “She’s the coolest\, and it’s all about doing things thoughtfully and with integrity instead of being some famous celebrity.” \n  \nWhether it’s on the riotously fun self-loathing anthem “I Hate the Way That I Look” or the delightfully dubby “Violence in the Supermarket”\, it’s clear not only that Spiritual Cramp are following that honest artistic path\, but they’re doing so by constantly pushing the boundaries of their musical world. “Sometimes we’d write something and everyone in the room would think it was totally nuts\,” Fenton laughs. “And then we’d finish it\, and it was great to realize we weren’t crazy.” And while they continue evolving\, the witty\, fun-loving heart of Spiritual Cramp keeps the engine running. “As a band\, we have a cool thing that people like\, but we can always get better\,” Bingham says. “People who listen know where we stand\, and this record paints a picture of what it feels like to be in Spiritual Cramp.”
URL:https://harvardsquare.com/event/briscoe-2/
LOCATION:The Sinclair\, 52 Church St\, Cambridge\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Live Music
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DTSTART;TZID=America/New_York:20260301T200000
DTEND;TZID=America/New_York:20260301T220000
DTSTAMP:20260501T045414
CREATED:20260223T214708Z
LAST-MODIFIED:20260223T215908Z
UID:10001545-1772395200-1772402400@harvardsquare.com
SUMMARY:Briscoe
DESCRIPTION:  \n \nIf Briscoe’s debut album was a coming-of-age soundtrack set against the backdrop of the Texas Hill Country\, then its follow-up\, Heat of July\, is the sound of a fully-formed duo chasing down a broader horizon. Inspired by marriage\, landscapes\, and the cross-country tours that took the band across America\, these new songs were written on the road\, as eclectic and evocative as the terrain that unfolded just outside the van’s windshield. Once again\, Briscoe teamed up with Grammy-nominated producer Brad Cook to bring the songs to life\, collaboratively creating a record that expands Briscoe’s folk-rock sound in all directions. There are bigger arrangements\, sharper vocal harmonies\, and enough top-tier guest musicians — including members of Houndmouth\, Hiss Golden Messenger\, Bon Iver\, Mipso\, and Watchhouse — to form their own supergroup. The result is a cinematic\, widescreen version of American roots music\, created by two lifelong friends who’ve learned to distill the thrill of the open road — and the challenges of growing up — into an ever-evolving soundtrack.
URL:https://harvardsquare.com/event/briscoe/
LOCATION:The Sinclair\, 52 Church St\, Cambridge\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Live Music
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DTSTART;TZID=America/New_York:20260225T183000
DTEND;TZID=America/New_York:20260225T183000
DTSTAMP:20260501T045414
CREATED:20260225T211523Z
LAST-MODIFIED:20260225T211626Z
UID:10001580-1772044200-1772044200@harvardsquare.com
SUMMARY:Whethan
DESCRIPTION:For Whethan\, evolution happens in real-time. He doesn’t wait around or look back. Instead\, he forges ahead\, making the most of not only each song\, show\, and album\, but of every second\, minute\, hour\, and day. The gold-selling Chicago-based artist\, producer\, and remixer consistently canvases new creative territory from a place of pure curiosity. Committed to constant perpetual motion\, he never stops searching for peaks to summit and barriers to break. \n  \nOnce again\, he confidently pushes forward on a series of singles and his 2021 second full-length album for Atlantic Records. \n  \n“I’ve been in the electronic music community for a while\, but I’m really exploring now because I’m more comfortable with who I am\,” he reveals. “I’m growing up and experimenting at the same time. The music is exciting and real because of it. I want to keep evolving and reaching people who haven’t heard me.” \n  \nAt this point\, an awful lot of people have heard Whethan… \n  \nSince 2015\, he has quietly emerged as an influential and inescapable force in not only the electronic genre\, but popular music at large. Beyond tallying over 1 billion global streams and counting\, he notably became “the young artist ever on Australia’s Future Classics.”  He earned a gold single with “Good Nights” [feat. Mascolo] from 2018’s Life of a Wallflower\, Vol. 1 and notably collaborated with everyone from Dua Lipa\, Charli XCX\, and K.FLAY to Tom Morello of Rage Against The Machine\, Portugal. The Man\, Jeremih\, The Knocks\, and Wafia. During 2020\, he reached another high watermark with his debut album\, FANTASY.  It incited tastemaker applause courtesy of Billboard\, SPIN\, Earmilk\, Flaunt\, American Songwriter\, OnestoWatch\, Dancing Astronaut\, EDM.com\, ThisSongIsSick\, and more. Along the way\, he graced bills of marquee festivals such as Coachella\, Lollapalooza\, Outside Lands\, and Electric Daisy Carnival in addition to selling out a co-headliner at the legendary Red Rocks Amphitheatre and topping the lineup of MTV’s Snowglobe Music Festival. \n  \nAs he continued to create throughout the Global Pandemic\, advice from one of his heroes\, Skrillex\, echoed in the back of his mind. \n  \n“Skrillex told me you should make music for your inner child\,” he recalls. “That always stuck with me. It was a revelation. I want to always be excited about what I’m doing.” \n  \nAfter touring heavily for the last few years\, he maximized his time off the road. He produced five tracks on Oliver Tree’s critically acclaimed debut album\, Ugly Is Beautiful. Combing Soundcloud for music\, he immersed himself in the burgeoning hyperpop movement at the same time. \n  \n“After putting out FANTASY\, I took a break from my solo material\,” he elaborates. “I wanted to go outside of the box and work on all types of music. I knew doing that would lead me back to music as an artist.” \n  \nHis instincts proved correct. He reached out to rising hyperpop star Glaive and genre-bending ericdoa and cooked up the 2021 single “Think You Right.” On the track\, synths shift like tectonic plates underneath hypnotic vocal interplay. Meanwhile\, strings underscore a hook teeming with uncontainable energy. \n  \n“I was able to work with Glaive and ericdoa very naturally\,” he states. “I didn’t feel like I was sacrificing my sound or integrity. These guys were all about getting crazy with the production. They wanted me to be as Whethan as I could be. There was a ton of freedom\, so it’s a very special song to me. It’s a big moment. It’s pretty much what I want the next project to sound like. It absolutely set the tone.” \nWorking with the likes of Matt Ox\, midwxst\, Yeat\, Reocragun\, Slump6s\, and many more on tracks\, he continues to widen the scope of his sound. \n  \n“I hate doing the same thing twice\,” he affirms. “I love surprising people and keeping them on the edge of their seats. I want to make music that can be played for everyone on the biggest scale possible. I love synths\, crazy video game sounds\, and hard bass. Everything is a part of the next chapter.” \nIn the end\, this evolution services a higher calling for Whethan. \n  \n“When people hear my music\, I want them to party and dance\,” he leaves off. “I just hope they have a good time.”
URL:https://harvardsquare.com/event/whethan/
LOCATION:The Sinclair\, 52 Church St\, Cambridge\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Live Music
ATTACH;FMTTYPE=image/jpeg:https://harvardsquare.com/wp-content/uploads/2026/02/whethan-tickets_03-14-26_17_69135ad367c5e.jpg
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DTSTART;TZID=America/New_York:20260224T080000
DTEND;TZID=America/New_York:20260224T170000
DTSTAMP:20260501T045414
CREATED:20260224T161820Z
LAST-MODIFIED:20260224T161820Z
UID:10001554-1771920000-1771952400@harvardsquare.com
SUMMARY:Amelia Day
DESCRIPTION:Amelia Day is a musical jack-of-all-trades. Standing at the intersection of folk\, rock\, and pop\, Day blends heartfelt storytelling\, raw delivery\, and unforgettable melodies into music that feels both fresh and familiar — like rediscovering an old favorite. A self-described writer before anything else\, her perceptive lyricism extends far beyond her 23 years\, with lines reminiscent of songwriting greats like Joni Mitchell and Paul Simon. As the Spokesman-Review notes\, Day has a signature style that features “wordplay\, double-meanings and rhythmic variations\,” with themes ranging from journeying into adulthood to climate change. Many of Day’s songs are also shaped by her intimate relationships\, where her queerness and candor take center stage. Day’s upcoming EP EGO TRIP is her most personal project yet. Lead single “Lady Los Angeles” traces the sting of betrayal after discovering infidelity\, while the rest of the EP takes listeners on an intimate journey through her grieving process. “The character of ‘Lady Los Angeles’ is representative of my ex’s obsession with attention and fame at all costs and my own fear of being seduced by those same temptations\,” Day explains. “It felt like she was having an affair\, not only with another person\, but with the often-self-aggrandizing culture of Los Angeles itself.”\n\nBorn and raised in the small town of Sumner\, Washington — the self-proclaimed “Rhubarb Pie Capital of the World” — Day has been drawn to music-making since she could walk. “I had no idea what I was doing\, but I had a toy ukulele and drum\, and my parents had an upright piano that I would mess around on\, ” she recalls. “I could spend hours just playing around on the keys\, making up little songs\, which my piano teacher recognized and encouraged.” By middle school\, Day was already writing her own songs “about myself and my (very angsty) preteen feelings.”\n\nOnce Day got to college\, she began performing her originals publicly\, though not without roadblocks. “I had horrible stage fright up until mid-college\,” she admits. Starting with farmers markets and local restaurants\, Day gradually built up the confidence and the following that would lead to sold-out shows in Seattle\, Boston\, and D.C.\, as well as festival appearances at Bumbershoot (“one of my favorite sets I’ve ever played…there was a line of people outside waiting to get in!”)\, Capitol Hill Block Party\, Folklife Festival\, and Seattle PrideFest — all on her own. “I’m proud of getting to this point as an artist completely solo\,” Day says.\n\nDay is proficient on guitar\, keys\, bass\, and drums\, often switching between instruments during her live performances. At other times\, she lets the music take over — stepping away from the instruments to simply sing and dance with mic in hand. She says she aims to “create an environment of complete presence and joy\, but also healthy catharsis of all the worst emotions.” As the Vanderbilt Hustler highlights\, her set is “energetic\, emotional and full of fun\, just like all of\nher music.” Fans often leave Day’s shows on a high\, blown away by her powerhouse vocals (drawing comparisons to Brandi Carlile\, Norah Jones\, Alanis Morissette\, and others)\, and charmed by the joy she exudes while onstage.\n\nAlready boasting over a million streams on a number of songs\, Amelia Day continues to prove herself as both a songwriter and performer\, emerging as a voice destined to resonate for years to come.
URL:https://harvardsquare.com/event/amelia-day/
LOCATION:The Sinclair\, 52 Church St\, Cambridge\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Live Music
ATTACH;FMTTYPE=image/jpeg:https://harvardsquare.com/wp-content/uploads/2026/02/amelia-day_12-02-25_19_692f6c8fa8ee5.jpg
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