Sleeping With Sirens performs at The Sylvee in Madison, Wisconsin, on Wednesday, October 21, 2026, during the band’s An Ending in Itself Tour. Photo by Dan DeSlover/The Early Registration.
Photos by Dan DeSlover
Sleeping With Sirens brought their An Ending in Itself Tour to The Sylvee on Wednesday, giving Madison a midweek dose of post-hardcore alongside support from Rain City Drive and Shyeye.
Led by Kellin Quinn, the band has spent more than 15 years building a sound around the interplay between vulnerability and volume. Quinn’s unmistakable voice remains central to that identity, pairing soaring melodies with the heavier edges that helped make Sleeping With Sirens a staple of the Warped Tour generation.
The Madison stop arrived during a new chapter for the group. Their eighth album, An Ending in Itself, reunites Sleeping With Sirens with Rise Records and finds them working with producer Will Yip. Its themes of hardship, hope and perseverance extend the emotional directness that has connected the band with listeners since its earliest releases.
That history gives this tour a connection to several eras of the band’s career, from the breakthrough of Let’s Cheers to This to the direction of their latest material. With Rain City Drive and Shyeye rounding out the bill, Wednesday’s show brought three acts to The Sylvee for an evening centered on heavy guitars and melodic hooks.
Photographer Dan DeSlover was at The Sylvee to capture the night for The Early Registration. Check out his photos from Sleeping With Sirens’ Madison stop below.
Sleeping With Sirens performs at The Sylvee in Madison, Wisconsin, on Wednesday, October 21, 2026, during the band’s An Ending in Itself Tour. Photo by Dan DeSlover/The Early Registration.
Godsmack performs at Landmark Credit Union Live in Milwaukee, Wisconsin, on Tuesday, October 20, 2026, as part of The Rise of Rock World Tour. Photo by Dan DeSlover/The Early Registration.
Photos by Dan DeSlover
Godsmack’s catalog could double as the soundtrack to a few decades of rock radio. Last night, the Massachusetts rockers brought that history to Landmark Credit Union Live in Milwaukee, stopping in the Deer District on their The Rise of Rock World Tour 2026, with special guest Dorothy.
Led by vocalist Sully Erna, Godsmack built its following on heavy grooves, unmistakable vocals and choruses that cut straight to the point. The band’s 1998 self-titled breakthrough introduced a sound that would carry through albums including Awake and Faceless, establishing a catalog with plenty of material for a night like this.
Milwaukee’s set opened with “When Legends Rise,” followed by “You and I” and “1000hp.” That opening stretch reached across different chapters of the band’s career before “Straight Out of Line” and “Awake” brought things back to the songs that helped make Godsmack a hard rock fixture.
The set continued through “Speak,” “Keep Away” and “Love-Hate-Sex-Pain,” with a cover of Joe Walsh’s “Rocky Mountain Way” tucked into the mix. “Voodoo” supplied its familiar, hypnotic change of pace, while the percussion showcase “Batalla de los tambores” gave the evening another dimension beyond the guitar riffs. “Whatever” rounded out the main set before an encore of “Bulletproof” and “I Stand Alone.” It was a concise tour through a catalog that balances blunt force with melody, and has never been particularly interested in subtlety.
Dorothy joined the Milwaukee bill as support, pairing Godsmack’s muscular sound with a bluesier strain of hard rock. Frontwoman Dorothy Martin’s powerful voice is central to that appeal, with her 2025 album The Way offering another introduction for listeners discovering her through this tour. The pairing made sense for an evening built around big voices and guitar-driven songs.
Photographer Dan DeSlover was at Landmark Credit Union Live to capture the night for The Early Registration. Check out his photos from Godsmack’s Milwaukee stop below.
Godsmack performs at Landmark Credit Union Live in Milwaukee, Wisconsin, on Tuesday, October 20, 2026, as part of The Rise of Rock World Tour. Photo by Dan DeSlover/The Early Registration.
Wheeler Walker Jr. performs at The Sylvee in Madison, Wisconsin, on Monday, October 19, 2026, during his Pullin’ Out: The Farewell Tour. Photo by Dan DeSlover/The Early Registration.
There are country shows you can bring your mother to, and then there’s Wheeler Walker Jr. Last night, the latter brought his Pullin’ Out: The Farewell Tour to The Sylvee in Madison, with opener Colton Bowlin on the bill and very little left to the imagination. Even the tour’s title offered a pretty good indication of where the evening was headed.
For anyone unfamiliar with the man behind the cowboy persona, Wheeler Walker Jr. is the creation of comedian Ben Hoffman. That context helps explain an act whose commitment to country music is matched by its commitment to saying things that would make a radio programmer reach for the emergency mute button. Think of Steel Panther’s gleefully obscene approach to rock, transported to the honky-tonk.
Walker’s opening three songs moved from an invitation to sit on his face to oral sex to an encounter with a redneck. There was apparently no need for a gradual introduction to the material.
That opening stretch also provides a useful explanation of the joke. Wheeler takes the swagger and sexual innuendo familiar to country music and pushes them well past the point of suggestion. The punch lines arrive wearing a cowboy hat, and subtlety has already left the building. Anyone expecting a conventional farewell filled with sentimental reflections would have needed to adjust those expectations early.
Bowlin handled opening duties before Walker’s headlining set, giving the Madison bill a second name worth knowing. But the evening’s defining subject was the outrageous character at its center and just how far Hoffman was willing to take him.
With a farewell tour called Pullin’ Out, a tasteful goodbye was always going to be a long shot.
Photographer Dan DeSlover was at The Sylvee to capture the night for The Early Registration. Check out his photos from the show below.
Paris Paloma performs at The Sylvee in Madison, Wisconsin, on Tuesday, October 13, 2026, as part of her The Fatal Flaw Tour. (Photo by Dan DeSlover/The Early Registration)
Photos by Dan DeSlover
British singer-songwriter Paris Paloma brought her haunting melodies, powerful storytelling and emotionally charged music to The Sylvee in Madison on Tuesday, as part of her The Fatal Flaw Tour. Joined by special guest Susannah Joffe, the rising alternative artist arrived in Wisconsin amid a breakthrough period in her career, bringing a sound that blends indie folk, dark pop and cinematic production with deeply personal themes.
Paloma first gained widespread attention with her viral single “Labour,” a feminist anthem that became a cultural phenomenon and helped introduce millions of listeners to her distinctive voice. Her 2024 debut album, Cacophony, further established her as a compelling storyteller, exploring themes of womanhood, identity, love and power through poetic lyricism and atmospheric arrangements.
Her latest album, The Fatal Flaw, released in 2026, marks another ambitious chapter in that journey. Featuring songs like “Miyazaki,” “Good Girl” and “Good Boy,” the project examines love, loss, vulnerability and self-discovery while expanding the cinematic sound that has become her signature. The album serves as the centerpiece of her biggest headlining tour to date, following a successful run supporting Florence + The Machine across the United Kingdom and Europe.
Tuesday’s performance at The Sylvee offered Madison fans an opportunity to experience Paloma’s evocative music in a live setting. Her songs move between delicate, introspective moments and powerful declarations of independence, creating a musical world where personal experiences and larger social conversations frequently intersect. With music that draws inspiration from mythology, literature and art, Paloma has developed a devoted following drawn to both her creative vision and the messages behind her work.
Opening the evening was Texas-raised, New York-based singer-songwriter Susannah Joffe, whose emotionally candid indie-pop music provided a fitting introduction to the night. Blending confessional songwriting with alternative-pop influences, Joffe has been building her own audience through songs that explore identity, relationships and the complexities of growing up.
Beyond the music, Paloma’s tour also carries a charitable component. Through a partnership with PLUS1, one dollar from every ticket sold supports organizations working to protect reproductive rights, further reflecting the social advocacy that has become closely associated with her artistry.
Photographer Dan DeSlover was at The Sylvee to capture Paris Paloma’s Madison performance. Check out our photo gallery from the evening below.
Paris Paloma performs at The Sylvee in Madison, Wisconsin, on Tuesday, October 13, 2026, as part of her The Fatal Flaw Tour. (Photo by Dan DeSlover/The Early Registration)
Suki Waterhouse performs at Landmark Credit Union Live in Milwaukee, Wisconsin, on Tuesday, October 13, 2026, as part of her The Loveland Tour. (Photo by Dan Garcia/The Early Registration)
The British singer, songwriter and actress brought her signature blend of indie rock, nostalgia and cinematic pop to Landmark Credit Union Live on Tuesday night, with support from Rochelle Jordan and EMMMA.
Suki Waterhouse has worn plenty of hats throughout her career: model, actress, songwriter and, increasingly, one of indie pop’s most captivating performers. On Tuesday night, the British multi-hyphenate brought her latest chapter to Milwaukee, stopping at the brand new Landmark Credit Union Live on Oct. 13 as part of her appropriately named The Loveland Tour.
For those who recognize Waterhouse’s face but not necessarily her music, the 34-year-old London native first gained attention through her modeling and acting careers, appearing in films including Love, Rosie, The Bad Batch and Pokémon Detective Pikachu, as well as the Amazon Prime Video series Daisy Jones & The Six. But music has become much more than a side project for Waterhouse, whose dreamy, alternative-pop sound has attracted a dedicated following of its own.
After releasing her debut album, I Can’t Let Go, in 2022, Waterhouse followed it with 2024’s Memoir of a Sparklemuffin, an album that further established her musical identity through a combination of vintage rock influences, atmospheric production and deeply personal songwriting. Her breakout song, “Good Looking,” originally released in 2017, found a second life through TikTok, introducing her music to millions of listeners and helping transform the actress and model into a legitimate headlining musician.
That dual identity is something Waterhouse has learned to embrace. After all, one of her most recognizable songs is literally titled “Model, Actress, Whatever,” a playful acknowledgment of the labels that have followed her throughout her career. But as her Milwaukee performance demonstrated, Waterhouse has developed a musical catalog that deserves attention on its own terms.
The evening featured two opening acts, beginning with EMMMA, a Connecticut-born, London-based singer-songwriter and multi-instrumentalist whose emotionally charged brand of alternative pop made her a fitting introduction to the night. With soaring vocals and a sound that balances vulnerability with anthemic energy, the emerging artist represents another promising voice in the increasingly crowded indie-pop landscape. Songs like “Fall From Grace” and “So Good” offer a glimpse into her ability to blend intimate songwriting with a bigger, more dramatic sound.
British-Canadian singer Rochelle Jordan followed, bringing a noticeably different musical approach to the lineup. Where EMMMA leans into emotionally driven pop, Jordan’s music explores the intersection of alternative R&B, house and electronic dance music. Her 2025 album, Through the Wall, further developed a sound influenced by ’90s R&B and the rhythms of UK club culture. Jordan’s sleek production and smooth, understated vocal delivery provided an interesting contrast to Waterhouse’s more guitar-driven material, giving the evening a musical range that extended well beyond traditional indie pop.
When it came time for the headliner, Waterhouse’s expansive setlist offered a look at just how much her musical career has evolved. Opening with “Supersad” and “Tiny Raisin,” she leaned immediately into the atmospheric, emotionally expressive sound that has come to define her work, before moving into the infectious “OMG.”
One of the more compelling elements of Waterhouse’s music is its ability to feel both contemporary and nostalgic. There are traces of ’70s soft rock, ’90s alternative music and modern bedroom pop throughout her catalog, but the influences rarely feel forced. Instead, they contribute to a sound that is simultaneously hazy, romantic and occasionally a little chaotic.
That combination was reflected in the show’s middle stretch, which included “Morals,” “Back in Love,” “Juke Box,” “My Fun” and “Happy With It.” The newer material also offered a glimpse of Waterhouse’s continuing evolution as a songwriter, particularly “Back in Love,” which arrived as part of the next phase of her recording career following her move to Island Records.
Songs like “Moves” and “Notting Hill” showcased the more melodic and introspective side of her catalog, while “18” and “When I Get Drunk” continued the evening’s exploration of romance, insecurity and the complicated emotions that frequently accompany both.
Of course, no Suki Waterhouse concert would feel complete without “Good Looking.” The song remains the defining breakthrough of her musical career, an atmospheric indie-pop favorite whose popularity helped introduce Waterhouse to an audience that might never have encountered her work on screen. Its dreamy production and wistful lyrics have become something of a calling card for the singer, and its inclusion was an essential part of the Milwaukee setlist.
But Waterhouse is far from a one-song success story. Later selections including “Think Twice,” “Dream Woman” and “Joanna” demonstrated the depth of a growing catalog that increasingly moves between understated vulnerability and more confident, dramatic songwriting.
“Model, Actress, Whatever” was another particularly fitting selection. The song’s title could almost serve as a shorthand biography for Waterhouse, whose transition between entertainment industries has occasionally made it difficult for casual observers to know exactly how to categorize her. At this point, though, the music speaks for itself.
The final stretch brought the tour’s namesake, “Loveland,” along with “Puppy Dog Eyes” and “Weirdo,” before Waterhouse closed the 21-song performance with “To Love.”
The choice of closer was appropriate for an evening so heavily rooted in romance and emotional connection. “To Love,” one of Waterhouse’s most affecting songs, captures the softer and more vulnerable side of an artist whose best material often finds beauty in uncertainty.
What makes Waterhouse an intriguing performer is the contrast between the glamour associated with her public persona and the unguarded emotions that run through her songs. Her music may be wrapped in dreamy production and vintage aesthetics, but underneath the surface are familiar experiences of heartbreak, longing, self-doubt and the sometimes messy process of falling in and out of love.
With The Loveland Tour, Waterhouse continues to establish an identity that goes well beyond the modeling campaigns and film credits that initially brought her into the spotlight. Her stop in Milwaukee served as another chapter in that transformation, with a lengthy setlist that connected her viral breakthrough, established fan favorites and newer recordings.
For anyone still inclined to think of Suki Waterhouse primarily as an actress or model who happens to sing, her growing body of work makes an increasingly persuasive argument to reconsider. The model and actress are still there, of course, but the musician is no longer an afterthought.
Take a closer look at Suki Waterhouse’s Milwaukee stop on The Loveland Tour through our photo gallery below, featuring images from the Oct. 13 performance at Landmark Credit Union Live.
Suki Waterhouse performs at Landmark Credit Union Live in Milwaukee, Wisconsin, on Tuesday, October 13, 2026, as part of her The Loveland Tour. (Photo by Dan Garcia/The Early Registration)
Earl Sweatshirt performs at The Sylvee in Madison, Wisconsin, on Sunday, Oct. 11, 2026, during his co-headlining Home on the Range Tour with MIKE. (Photo by Jacquelyn Smith for The Early Registration)
Photos by Jacquelyn Smith
Earl Sweatshirt and MIKE brought their Home on the Range Tour to The Sylvee in Madison on Sunday night, Oct. 11, delivering an evening of underground hip-hop, unreleased music and a finale that turned the stage into one big celebration.
The two acclaimed rappers have carved out their own lanes in hip-hop, earning devoted followings through introspective lyricism, experimental production and an approach to music that rarely follows conventional formulas. Together, they’ve developed a creative chemistry that was on full display in Madison.
Sunday’s performance leaned heavily into their latest collaborative project with Surf Gang, POMPEII // UTILITY, released in April. The ambitious 33-track double album features separate collections from MIKE and Earl Sweatshirt, both built around Surf Gang’s distinctive production. The duo performed a substantial portion of the new material, giving fans an opportunity to experience the collaboration in a live setting.
But the night wasn’t exclusively about music fans already knew. Both Earl and MIKE treated the Madison audience to unreleased tracks, offering a glimpse of what each artist might have coming next. For two rappers whose catalogs reward close listening and whose musical directions are often unpredictable, the previews added another layer of excitement to the evening.
Earl, who first gained recognition as a teenage member of Odd Future, has spent more than a decade establishing himself as one of hip-hop’s most thoughtful and unconventional voices. MIKE, meanwhile, has built his own reputation through deeply personal songwriting, distinctive flows and a growing influence on New York’s independent rap scene.
With Surf Gang’s Harrison and Cletus Strap also on the bill, the concert felt as much like a gathering of collaborators as a traditional co-headlining tour.
That spirit became especially apparent at the end of the night. Following a one-song encore, Earl and MIKE were joined onstage by members of Surf Gang, Cletus Strap and several others for an impromptu celebration. What began as a hip-hop concert ended as a full-fledged party, with the performers sharing the stage and enjoying the final moments together.
It was a fitting conclusion to an evening built around musical collaboration, friendship and creative freedom, and a reminder that sometimes the best moments of a concert happen when the performance gives way to simply having fun.
Photographer Jacquelyn Smith was at The Sylvee to capture Earl Sweatshirt, MIKE and the night’s festivities. Check out her photos from Sunday’s show below.
Earl Sweatshirt performs at The Sylvee in Madison, Wisconsin, on Sunday, Oct. 11, 2026, during his co-headlining Home on the Range Tour with MIKE. The evening featured music from their recent collaborative project with Surf Gang, unreleased tracks and a celebratory finale. (Photo by Jacquelyn Smith for The Early Registration)
MUNA perform during their Gets So Hot Tour at The Sylvee in Madison, Wisconsin, on October 10, 2026. Photo by Dan DeSlover/The Early Registration.
Photos by Dan DeSlover
Heartache has always had a place on the dance floor, and MUNA know how to get it there. The trio brought their Gets So Hot Tour to The Sylvee on Saturday, October 10, with Hemlocke Springs joining the Madison bill. It was a Saturday night appointment with a band whose pop instincts make even the complicated feelings sound inviting.
Katie Gavin, Naomi McPherson and Josette Maskin have built a catalog that leaves room for vulnerability, humor and the pleasure of a big chorus. That balance is central to MUNA’s appeal: the songs give you something to move to, then leave you with a line worth thinking about on the way home.
Their fourth album, Dancing On The Wall, adds another dimension to that formula. Released in May, the record brings desire and anxiety into the same room, pairing the trio’s emotional candor with an increasingly dance-driven sound. It’s a natural next chapter for a group that can make longing feel both deeply personal and widely shared.
The Madison stop also belonged to a tour with a purpose beyond the music. A portion of proceeds supports The Ally Coalition’s work with LGBTQ youth and queer migrants across the United States, extending the band’s commitment to community beyond the stage.
Check out our photos from their night at The Sylvee below.
MUNA perform during their Gets So Hot Tour at The Sylvee in Madison, Wisconsin, on October 10, 2026. Photo by Dan DeSlover/The Early Registration.
Soccer Mommy and Snail Mail bring their co-headlining S&M Tour to The Sylvee in Madison, Wisconsin, on October 9, 2026. Photo by Dan DeSlover/The Early Registration.
Photos by Dan DeSlover
Some tour pairings practically make themselves. Soccer Mommy and Snail Mail brought their co-headlining S&M Tour to The Sylvee in Madison on Friday, October 9, joining two of indie rock’s most compelling songwriters on a bill that also featured Brennan Wedl. For fans of personal lyrics and guitars with a little bite, it was an easy date to circle on the calendar.
Behind the two names are Sophie Allison and Lindsey Jordan, artists whose music makes growing up sound as messy and complicated as it feels. Both have a knack for pairing an immediately inviting melody with a thought that takes longer to shake. Their catalogs make good company for each other, whether you gravitate toward Soccer Mommy’s understated delivery or Snail Mail’s sharper emotional edges.
The pairing also finds both artists well beyond their breakthrough years. Soccer Mommy’s Evergreen, released in 2024, and Snail Mail’s Ricochet, which arrived in March, provide the latest chapters in two careers that have continued to expand beyond their early indie-rock successes.
Allison’s Evergreen explores loss through direct, intimate songwriting, while Jordan’s Ricochet stretches toward bigger arrangements and questions about time, mortality and connection. Those concerns give the shared bill a natural through line: two distinct voices figuring things out, with plenty of room for a memorable guitar melody along the way.
Photographer Dan DeSlover was there to capture the Madison stop for The Early Registration.
Check out our photo gallery of Soccer Mommy and Snail Mail at The Sylvee below.
Soccer Mommy and Snail Mail bring their co-headlining S&M Tour to The Sylvee in Madison, Wisconsin, on October 9, 2026. Photo by Dan DeSlover/The Early Registration.
Modest Mouse performs at The Sylvee in Madison, Wisconsin, on September 29, 2026. Photo by Dan DeSlover/The Early Registration.
Photos by Dan DeSlover
There’s a lot more to Modest Mouse than “Float On,” and the band’s September 29 stop at The Sylvee offered a reminder of just how far that rabbit hole goes. With Caroline Rose opening the evening, the Madison show paired material from An Eraser and a Maze with a generous dive into the songs that helped build the band’s devoted following.
Led by Isaac Brock, Modest Mouse opened with “Dogbed in Heaven / Give It a Skeleton” before moving into “Black Cadillacs” and “Dance Hall.” That opening sequence established the evening’s approach: new music sharing space with familiar favorites, with little interest in taking the most obvious route through the catalog.
The newer material had a substantial role throughout the set. “Speak ’n Spell (Or Not),” “Absolutely Necessary Never” and “Picking Dragons’ Pockets” were among the selections from An Eraser and a Maze, giving the night a focus that extended beyond revisiting the band’s earlier records. For a group whose appeal has always rested partly on its willingness to get weird, that forward motion felt appropriate.
There was plenty for longtime listeners to dig into, too. “Broke” and “Breakthrough” reached back to the band’s early years, while “A Different City” and “Life Like Weeds” represented The Moon & Antarctica. Together, those selections traced the restless songwriting that made Modest Mouse compelling long before its breakthrough into mainstream radio.
The encore brought “Dramamine,” “3rd Planet” and “Spitting Venom,” closing with a trio that could make a convincing case for the band’s range all on its own. With “Float On” absent from the set, the Madison stop offered something more interesting than a countdown to the biggest hit: a chance to explore the corners of a catalog that still rewards getting a little lost.
Photographer Dan DeSlover was there to capture Modest Mouse’s return to Madison. Check out our photo gallery below for a closer look at the band’s night at The Sylvee.
Modest Mouse performs at The Sylvee in Madison, Wisconsin, on September 29, 2026. Photo by Dan DeSlover/The Early Registration.
Charley Crockett performs during his Age of the Ram Tour stop at The Sylvee in Madison, Wisconsin, on Tuesday, Sept. 15, 2026. Photo by Deanna Glatczak.
Photos by Deanna Glatczak
Charley Crockett brought his Age of the Ram Tour to The Sylvee on Tuesday, Sept. 15, filling the Madison venue with the country, blues and Southern soul that have made him one of roots music’s most distinctive modern performers.
Crockett has always carried himself like a figure transported from another era. With his sharply tailored Western wardrobe, weathered voice and theatrical stage presence, he looks every bit the wandering cowboy described throughout his songs. Yet Tuesday’s performance never felt like a simple exercise in nostalgia. Backed by the Blue Drifters, Crockett drew freely from the past while giving the music an identity unmistakably his own.
The concert arrived behind Age of the Ram, Crockett’s latest album and the concluding chapter of the Sagebrush Trilogy that began with Lonesome Drifter and continued with Dollar a Day. Songs including “Kentucky Too Long” and “Fastest Gun Alive” expand the cinematic mythology that has become central to his work, placing outlaws, drifters and working people against an endlessly stretching American landscape.
That imagery translated naturally to the stage. Crockett moved with a showman’s confidence, punctuating lyrics with dramatic gestures and flashes of understated humor. The Blue Drifters supplied the evening’s musical muscle, moving easily between honky-tonk rhythms, bluesy grooves and the traces of soul that prevent Crockett’s music from fitting neatly into any single country category.
Familiar selections including “$10 Cowboy” and “The Man from Waco” further demonstrated the range of his catalog. Crockett can inhabit a larger-than-life Western character one moment and sound strikingly vulnerable the next, delivering each song as if it were another story collected during a lifetime spent moving from one town to another.
Wisconsin-based songwriter Christopher Gold opened the evening with a stripped-down combination of folk, country and plainspoken storytelling. His intimate approach offered an effective contrast to the fuller production that followed while establishing the night’s shared emphasis on songs that feel lived rather than manufactured.
Crockett’s prolific output has become nearly as remarkable as the music itself. He has released album after album without sanding away the eccentricities that separate him from contemporary country’s center. Instead, his popularity has grown because of them. At The Sylvee, the cowboy hats, vintage arrangements and mythic imagery never obscured the substance underneath.
The result was a performance that felt both carefully staged and genuinely restless. Crockett may borrow the visual language of country music’s past, but Tuesday night made clear that he is not interested in simply reenacting it. He is using those traditions to construct a world—and inviting a growing audience to follow him wherever the trail leads next.
Check out Deanna Glatczak’s photos of Charley Crockett and Christopher Gold at The Sylvee below.
Charley Crockett performs during his Age of the Ram Tour stop at The Sylvee in Madison, Wisconsin, on Tuesday, Sept. 15, 2026. Photo by Deanna Glatczak.
Your Music Source for News, Reviews, Interviews and Much More!
