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DTSTART;TZID=America/Denver:20250916T200000
DTEND;TZID=America/Denver:20250916T233000
DTSTAMP:20250909T055027Z
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UID:10120195-1758052800-1758065400@missoulaunderground.com
SUMMARY:That Mexican OT Recess Tour at The Wilma
DESCRIPTION:Logjam Presents welcomes That Mexican OT for a live performance on their Recess Tour with openers RNB.FOEMOB\, Drodi\, Lil Bubba and DJ Scales at The Wilma in Downtown Missoula at 8:00 pm Tuesday\, September 16\n\n\n\n\n\nDoors @ 7:00 pm \n\n\n\nLogjam Presents welcomes That Mexican OT for a live performance on their Recess Tour with openers RNB.FOEMOB\, Drodi\, Lil Bubba and DJ Scales at The Wilma in Downtown Missoula on Tuesday\, September 16. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. All tickets are general admission standing room only. All ages are welcome. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout That Mexican OTBorn in Bay City\, Texas\, Virgil René Gazca learned quickly that he would have to make something of himself to get through his difficult upbringing. Gazca was always drawn to music\, listening to a mix of the in-your-face classic rock of AC/DC\, the pulsating nu-metal of Slipknot\, and the vivacious southern parking lot pimping music of Slim Thug\, Lil Keke\, Sauce Walka\, and the rappers who ushered in the mid-00s Southern rap takeover. He always gravitated towards music\, but after losing his mother early in life\, and dealing with his dad being in and out of jail\, Gazca faced a crossroads in seventh grade as he pondered how to change his circumstances. “Being a rapper is damn near impossible\,” Gazca says. “With the luck that I got\, I know I’m not making. What am I going to do in life? I couldn’t see myself doing anything else\, so it just had to happen.” With that realization\, Gazca got to work\, spending as much time in his uncle’s makeshift studio as possible and entering into rap battles around the city. But issues with self-esteem pushed him off the path in a bad way. Scared of repeating the mistakes of his other family members\, Gazca re-dedicated himself to his craft around junior year of high school\, continuing to hone his rapping with his uncle and his cousins. After locking in and releasing his first project\, Southern Texas Project\, in 2020\, Gazca got the attention of Greg Gates\, who offered to manage him. Gates changed Gazca’s life\, pushing him to learn to make songs\, rather than focus purely on rapping. “La Muerte” was the lightbulb moment for Gazca\, a rapid tempo\, Mexican guitar-influenced banger that acted as a template to the charismatic trunk rattlers Gazca would go on to make. From there\, Gazca stayed in the studio\, dropping projects and songs at a furious pace such as 2021’s 1 Double O and 2022’s Nonsense and Mexican Shit. But 2023 would be the year everything fell into place\, starting with his breakout track “Johnny Dang\,” which saw the Tejano rapper link up with Texas staple Drodi and the “Sittin Sidewayz” legend Paul Wall for a melding of Texas’ storied past and bright future. The track served as a perfect primer to his album\, Lonestar Luchador\, which meshed his love of wrestling\, comedy and hard-hitting bars into a raucous album that showcases his limitless ambition and knack for worldbuilding. In 2024\, he continued that momentum\, being named to the newest XXL Freshman class and finding success with his follow up project\, Texas Technician. The new project forgoes the conceptual approach of Lonestar Luchador in favor of paying homage to the state and sound that made him. Linking with fellow Texas titans such as Z-Ro\, Paul Wall\, Slim Thug and Le$\, while also finding contemporaries to match his energy such as DaBaby\, Fredo Bang and MoneyBagg Yo\, Texas Technician is a coming-of-age story best heard on the biggest subwoofers in the parking lot. “I like when people hand out CDs in the back of the slab\,” Gazca says. “You see that trunk and it’s glowing with the lights and the speakers\, and bumping their music. That’s the feeling I wanted to bring to this tape\, it just falls back to me loving the hustle and the grind of being a Texas Technician.” Tracks such as the eerie\, Screw-influenced flex fest with MoneyBagg Yo “Twisting Fingers\,” show off That Mexican OT’s natural ability to bring his features into his world\, sounding like a late night\, dirt road rager in Texas. While more introspective tracks such as the heartfelt “Muchos Gracias” reveals his somber side\, remembering everyone who helped him get to this point. Texas Technician shows all sides of Virgil Rene Gazca\, the man inside\, and the outlaw\, slick-tongued persona of That Mexican OT. With his Texas Technician tour in full swing\, new singles like the Denzel Curry vivacious team up “Black Flag Freestyle\,” and a new project he says has some of his most eclectic music to date\, That Mexican OT has all the support and momentum to ascend to Southern rap royalty\, and position himself as a new leader for Texas rap\, and beyond. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout DrodiDRODi is a dynamic figure in the independent hip-hop scene\, with a growing portfolio of music and a strong digital presence. His work exemplifies the creative spirit of Texas rap\, blending traditional influences with modern production and an independent ethos. Fans can keep up with his latest projects on social media and streaming platforms. • Origin: DRODi hails from Freeport\, Texas\, and is known for his energetic and authentic approach to hip-hop. His roots in the Texas rap scene contribute to a style that often features hard-hitting beats and a distinctive flow. • Social Media Presence: He is active on platforms like Instagram\, YouTube\, and Facebook. His Instagram handle\, @_drodi_\, showcases his latest updates\, teasers for new projects\, and behind-the-scenes glimpses into his creative process .
URL:https://missoulaunderground.com/mugevent/that-mexican-ot-recess-tour-at-the-wilma/
LOCATION:The Wilma Theater\, 131 Higgins Avenue\, Missoula\, Montana\, 59802\, United States
CATEGORIES:Music,Rap
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2021/05/Wilma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250820T200000
DTEND;TZID=America/Denver:20250820T230000
DTSTAMP:20250818T150557Z
CREATED:20250818T150555Z
LAST-MODIFIED:20250818T150557Z
UID:10119610-1755720000-1755730800@missoulaunderground.com
SUMMARY:Alabama Shakes 2025 Tour with Y La Bamba at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nLogjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General Admission lawn\, reserved premium stadium seating\, general admission standing pit and premium box seating tickets are available. Shuttle Tickets and Parking Passes can be purchased here. Crazy Creek Chair Rentals for this event are available for advance purchase here. All ages are welcome. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\nAll concerts are held rain or shine. Be prepared for extremes such as sunshine\, heat\, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather\, tickets will not be refunded. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Alabama ShakesAfter an eight-year absence\, Alabama Shakes are poised to make their return announcing a 2025 Tour across the U.S. The Athens\, AL-raised band\, comprised of vocalist/guitarist Brittany Howard\, guitarist Heath Fogg\, and bassist Zac Cockrell exploded onto the scene in 2012 with their debut album Boys & Girls\, (ATO Records)\, which entered Billboard’s Independent Albums chart at No. 1. Boys & Girls earned the band multiple GRAMMY nominations and was hailed as one of the year’s best albums by numerous publications\, including Rolling Stone\, which also named lead single “Hold On” the #1 Best Song of 2012. Soon after its release\, the bandmates found themselves thrust into the global spotlight\, achieving such milestones as performing at the White House and on “Saturday Night Live.” \n\n\n\nThe band’s legacy continued to grow with the groundbreaking Sound & Color (ATO Records). Released 10 years ago\, the album debuted at No. 1 on the Billboard 200\, won GRAMMY Awards for Best Alternative Music Album and Best Engineered Album\, Non Classical. The first single\, “Don’t Wanna Fight\,” took honors in the Best Rock Performance and Best Rock Song categories. Sound & Color marked a profound evolution from Alabama Shakes’ debut album\, as The New York Times Magazine observed\, heralding the band’s “soul-stirring\, shape-shifting new sound.” Both Sound & Color and Boys & Girls were certified Platinum by the RIAA. \n\n\n\nThe Shakes’ Cockrell\, Fogg\, & Howard have also reunited in the studio promising new music to fans who have been eagerly awaiting their return. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Y La BambaTo declare one thematic narrative from Lucha\, Y La Bamba’s seventh album\, would be to chisel away a story within a story within a story into the illusion of something singular. \n\n\n\n“Lucha is a symbol of how hard it is for me to tackle healing\, live life\, and be present\,” Luz Elena Mendoza Ramos\, lead vocalist and producer of Y La Bamba\, says of the title behind the album which translates from Spanish to English as ‘fight’ and is also a nickname for Luz\, which means light. The album explores multiplicity—love\, queerness\, Mexican American and Chicanx identity\, family\, intimacy\, yearning\, loneliness—and chronicles a period of struggle and growth for Mendoza Ramos as a person and artist. \n\n\n\nLucha was born out of isolation at the advent of COVID-19 lockdowns\, beginning with a cover of Hank Williams’ “I’m So Lonesome I Could Cry\,” and following Mendoza Ramos as she moved from Portland\, Oregon to Mexico City\, returning to her parents’ home country while revisiting a lineage marred by violence and silence\, and simultaneously reaching towards deeper relationships with loved ones and herself. The album reflects “another tier of facing vulnerability\,” as Mendoza Ramos explains\, and is a battle cry to fight in order to be seen and to be accepted\, if not celebrated\, in every form—anger and compassion\, externally and internally\, individually and societally. As much as la lucha is about inner work\, fighting is borne from survival stemming from social structures designed to uplift dominant groups at the hands of suffering amongst the marginalized. \n\n\n\nWhile peeling back layers of the past to better understand the present has been integral to this period of growth for Mendoza Ramos\, time\, trauma\, and history can feel like interconnected\, abysmal loops and music has remained a trusted space for Mendoza Ramos to process\, experiment\, and channel her learnings into a creative practice. In this way\, Lucha has become cyclical\, documenting the parallel trust Mendoza Ramos has built with herself to allow the songs to guide how they should be sung\, or even sound. \n\n\n\n“I’ve been wanting to let whatever feels natural—with rhythm and musical instruments like congas and singing—to just let it be\, in the way that I’m trying to invoke in myself.” Lucha reflects on\, “the continuing process of learning how to exercise my producing skills\,” explains Mendoza Ramos. “I have so many words\, ideas to work with all the time\, and the hardest part for me has been learning to trust my gut. And figuring out how I work best\, and with who.” \n\n\n\nThe result is a collection as sonically sprawling and bold as its subject matter. On “La Lluvia de Guadalajara\,” Y La Bamba leans into a minimal\, avant-garde soundscape as Mendoza Ramos recites a spoken word poem. Later\, rhythms veer into bossa nova territory on “Hues ft. Devendra Banhart\,” a full-circle collaboration for Mendoza Ramos as she reminisces on the significance of finding Banhart’s work nearly two decades earlier: “He was the first young Spanish-speaking musician that wasn’t playing traditional Mexican music I heard when I was 21. There was nothing like it around that time.” \n\n\n\n“Nunca” is a warm\, wind-rich track dedicated to her mother\, Maria Elena Ramos whose poetry is published alongside the Lucha lyrics booklet. “I decided to put my mom’s poem\, which is a poem that she wrote to me\, letting me know how she felt\, exploring her heart in new ways she’s never imagined. Sharing it on the record is me paying attention that she’s expressing herself.” \n\n\n\nWhile each song holds personal significance to Mendoza Ramos\, part of growing into her identity as an artist has been allowing space for protection and boundaries\, and choosing to withhold some of that meaning from the public. Lucha is her own story of the complexity of trauma and nonlinear healing and growth processes\, but she imagines it is also the continuation of her ancestors’ stories and might also be a mirror to the story of others. “Even though I’m trying to fight\, I never want to demonize suffering\, because that’s part of growing. And it’s hard\, because we’re living in times where that [stigma] is what’s happening. So if this—me talking about my mental health and finding healing in my queerness—is a risk\, I hope that I find a community that protects it and protects me\, because they know I have their back. I am also trying to be my mom’s community.”
URL:https://missoulaunderground.com/mugevent/alabama-shakes-2025-tour-with-y-la-bamba-at-kettlehouse-amphitheater/2025-08-20/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:Music,Rock,Rock & Roll
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2020/04/Kettlehouse-Ampitheater-concert-Photo-jpg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20250819T200000
DTEND;TZID=America/Denver:20250819T230000
DTSTAMP:20250818T150557Z
CREATED:20250818T150555Z
LAST-MODIFIED:20250818T150557Z
UID:10119609-1755633600-1755644400@missoulaunderground.com
SUMMARY:Alabama Shakes 2025 Tour with Y La Bamba at KettleHouse Amphitheater
DESCRIPTION:Logjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20\n\n\n\n\n\nDoors @ 6:30 pm \n\n\n\nLogjam Presents welcomes Alabama Shakes for two nights of live concert performances on their 2025 Tour with Y La Bamba at KettleHouse Amphitheater in Bonner at 8:00 pm Tuesday\, August 19 and Wednesday\, August 20. \n\n\n\nTickets on sale at Logjam Presents Box Offices and online while supplies last. General Admission lawn\, reserved premium stadium seating\, general admission standing pit and premium box seating tickets are available. Shuttle Tickets and Parking Passes can be purchased here. Crazy Creek Chair Rentals for this event are available for advance purchase here. All ages are welcome. \n\n\n\nTake a look at these tips to best prepare yourself for a smooth ticket buying experience. \n\n\n\nAdditional ticketing and venue information can be found here. \n\n\n\nAll concerts are held rain or shine. Be prepared for extremes such as sunshine\, heat\, wind or rain. All tickets are non-refundable. In the event of cancellation due to extreme weather\, tickets will not be refunded. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Alabama ShakesAfter an eight-year absence\, Alabama Shakes are poised to make their return announcing a 2025 Tour across the U.S. The Athens\, AL-raised band\, comprised of vocalist/guitarist Brittany Howard\, guitarist Heath Fogg\, and bassist Zac Cockrell exploded onto the scene in 2012 with their debut album Boys & Girls\, (ATO Records)\, which entered Billboard’s Independent Albums chart at No. 1. Boys & Girls earned the band multiple GRAMMY nominations and was hailed as one of the year’s best albums by numerous publications\, including Rolling Stone\, which also named lead single “Hold On” the #1 Best Song of 2012. Soon after its release\, the bandmates found themselves thrust into the global spotlight\, achieving such milestones as performing at the White House and on “Saturday Night Live.” \n\n\n\nThe band’s legacy continued to grow with the groundbreaking Sound & Color (ATO Records). Released 10 years ago\, the album debuted at No. 1 on the Billboard 200\, won GRAMMY Awards for Best Alternative Music Album and Best Engineered Album\, Non Classical. The first single\, “Don’t Wanna Fight\,” took honors in the Best Rock Performance and Best Rock Song categories. Sound & Color marked a profound evolution from Alabama Shakes’ debut album\, as The New York Times Magazine observed\, heralding the band’s “soul-stirring\, shape-shifting new sound.” Both Sound & Color and Boys & Girls were certified Platinum by the RIAA. \n\n\n\nThe Shakes’ Cockrell\, Fogg\, & Howard have also reunited in the studio promising new music to fans who have been eagerly awaiting their return. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Y La BambaTo declare one thematic narrative from Lucha\, Y La Bamba’s seventh album\, would be to chisel away a story within a story within a story into the illusion of something singular. \n\n\n\n“Lucha is a symbol of how hard it is for me to tackle healing\, live life\, and be present\,” Luz Elena Mendoza Ramos\, lead vocalist and producer of Y La Bamba\, says of the title behind the album which translates from Spanish to English as ‘fight’ and is also a nickname for Luz\, which means light. The album explores multiplicity—love\, queerness\, Mexican American and Chicanx identity\, family\, intimacy\, yearning\, loneliness—and chronicles a period of struggle and growth for Mendoza Ramos as a person and artist. \n\n\n\nLucha was born out of isolation at the advent of COVID-19 lockdowns\, beginning with a cover of Hank Williams’ “I’m So Lonesome I Could Cry\,” and following Mendoza Ramos as she moved from Portland\, Oregon to Mexico City\, returning to her parents’ home country while revisiting a lineage marred by violence and silence\, and simultaneously reaching towards deeper relationships with loved ones and herself. The album reflects “another tier of facing vulnerability\,” as Mendoza Ramos explains\, and is a battle cry to fight in order to be seen and to be accepted\, if not celebrated\, in every form—anger and compassion\, externally and internally\, individually and societally. As much as la lucha is about inner work\, fighting is borne from survival stemming from social structures designed to uplift dominant groups at the hands of suffering amongst the marginalized. \n\n\n\nWhile peeling back layers of the past to better understand the present has been integral to this period of growth for Mendoza Ramos\, time\, trauma\, and history can feel like interconnected\, abysmal loops and music has remained a trusted space for Mendoza Ramos to process\, experiment\, and channel her learnings into a creative practice. In this way\, Lucha has become cyclical\, documenting the parallel trust Mendoza Ramos has built with herself to allow the songs to guide how they should be sung\, or even sound. \n\n\n\n“I’ve been wanting to let whatever feels natural—with rhythm and musical instruments like congas and singing—to just let it be\, in the way that I’m trying to invoke in myself.” Lucha reflects on\, “the continuing process of learning how to exercise my producing skills\,” explains Mendoza Ramos. “I have so many words\, ideas to work with all the time\, and the hardest part for me has been learning to trust my gut. And figuring out how I work best\, and with who.” \n\n\n\nThe result is a collection as sonically sprawling and bold as its subject matter. On “La Lluvia de Guadalajara\,” Y La Bamba leans into a minimal\, avant-garde soundscape as Mendoza Ramos recites a spoken word poem. Later\, rhythms veer into bossa nova territory on “Hues ft. Devendra Banhart\,” a full-circle collaboration for Mendoza Ramos as she reminisces on the significance of finding Banhart’s work nearly two decades earlier: “He was the first young Spanish-speaking musician that wasn’t playing traditional Mexican music I heard when I was 21. There was nothing like it around that time.” \n\n\n\n“Nunca” is a warm\, wind-rich track dedicated to her mother\, Maria Elena Ramos whose poetry is published alongside the Lucha lyrics booklet. “I decided to put my mom’s poem\, which is a poem that she wrote to me\, letting me know how she felt\, exploring her heart in new ways she’s never imagined. Sharing it on the record is me paying attention that she’s expressing herself.” \n\n\n\nWhile each song holds personal significance to Mendoza Ramos\, part of growing into her identity as an artist has been allowing space for protection and boundaries\, and choosing to withhold some of that meaning from the public. Lucha is her own story of the complexity of trauma and nonlinear healing and growth processes\, but she imagines it is also the continuation of her ancestors’ stories and might also be a mirror to the story of others. “Even though I’m trying to fight\, I never want to demonize suffering\, because that’s part of growing. And it’s hard\, because we’re living in times where that [stigma] is what’s happening. So if this—me talking about my mental health and finding healing in my queerness—is a risk\, I hope that I find a community that protects it and protects me\, because they know I have their back. I am also trying to be my mom’s community.”
URL:https://missoulaunderground.com/mugevent/alabama-shakes-2025-tour-with-y-la-bamba-at-kettlehouse-amphitheater/2025-08-19/
LOCATION:KettleHouse Amphitheater\, 605 Cold Smoke Lane\, Bonner\, MT\, 59823\, United States
CATEGORIES:Music,Rock,Rock & Roll
ATTACH;FMTTYPE=image/jpeg:https://missoulaunderground.com/wp-content/uploads/2020/04/Kettlehouse-Ampitheater-concert-Photo-jpg.jpg
END:VEVENT
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