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Puscifer Normal Isn’t

Puscifer

Murat Theatre at Old National Centre

Indianapolis, IN

The Normal Isn’t Tour

April 23, 2026

Thursday night at the Murat Theatre at Old National Centre felt less like a concert and more like stepping inside one of Puscifer’s carefully constructed worlds, where every sound, visual, and moment has a purpose. On The Normal Isn’t Tour, that line between concert and performance art doesn’t just blur, it disappears entirely.

The night opened with the “We Understand” video, immediately setting the tone. It wasn’t an introduction; it was a command. Maynard James Keenan has always pushed audiences to stay present, but this felt more direct. Less suggestion, more expectation. In a space where it’s easy to get distracted, Puscifer made it clear: pay attention.

From there, the set moved with intention. “Thrust” and “Self Evident” locked in early, tight and precise, pulling the crowd into the rhythm of the night. Songs like “Bad Wolf” and “Normal Isn’t” carried that tension forward, blending clean electronic edges with a darker, underlying pulse. Alongside Keenan, Carina Round brought balance with her presence, adding depth and contrast that kept everything grounded even as the narrative shifted around them.

What stood out most wasn’t just how tight everything sounded, but the intention behind it. This wasn’t about escape. It was about reflecting the world back at us, a messy, complicated, and constantly shifting world. Technology, noise, and distraction are all a part of it. Maynard leaned into that reality instead of avoiding it. The performance Thursday night was about provoking thought, and maybe walking out seeing things just a little differently.

Setlist: “We Understand” video, Thrust, Self Evident, Bad Wolf, Normal Isn’t, The Algorithm, The Quiet Parts, Pendulum, “Bangers and Mashups” video, The Underwhelming, Mantastic, Bullet Train to Iowa, The Remedy, Intermission, The Humbling River, ImpetuoUS, Momma Sed, Seven One, Grand Canyon, Conditions of My Parole, A Public Stoning

Puscifer photo gallery by Tony Vasquez

Puscifer on their The Normal Isn’t Tour at the Murat Theatre at Old National Centre in Indianapolis, Indiana on April 23, 2026. (Photo by Tony Vasquez for jpm)

David Hill opening for Puscifer at the Murat Theatre at Old National Centre in Indianapolis, Indiana on April 23, 2026. (Photo by Tony Vasquez for jpm)

One Mandolin, Infinite Possibilities: Chris Thile

Chris Thile

Allied Solutions Center

Payne & Mencias Palladium at Allied Solutions Center for the Performing Arts

Carmel, Indiana

April 10, 2026

Chris Thile walked onstage alone, mandolin in hand, carrying with him a catalog that stretches from Baroque Europe to modern indie rock, with plenty of Appalachian soul in between. Opening with “I Made This for You,” he set the tone immediately—nimble, articulate, and deeply human. It’s easy to forget, watching him play, that the mandolin is often confined to genre boxes. In Thile’s hands, it becomes orchestral.

His interpretations of Johann Sebastian Bach—including selections from Partita No. 3 in E major, BWV 1006 and the towering Ciaccona from Partita No. 2 in D minor—were delivered with reverence but never rigidity. Thile doesn’t treat these compositions as museum pieces; he breathes into them, reshaping phrases with subtle rhythmic elasticity, making centuries-old music feel startlingly present.

Throughout the evening, Thile demonstrated not just technical brilliance, but an almost restless musical intellect—one that refuses to draw lines between genres. Classical, bluegrass, indie rock—they’re all part of the same conversation in his world. If this night in Carmel proved anything, it’s that a single musician, armed with curiosity and a mandolin, can still command an entire room—and leave it changed.

Setlist:

I Made This for You, Partita No. 3 in E major, BWV 1006 (Johann Sebastian Bach cover), The Fox (traditional cover), Goddamned Saint, Partita No. 2 in D minor , BWV 1004: V. Ciaccona (Johann Sebastian Bach cover), Weird Fishes/Arpeggi (Radiohead cover), Julep (Punch Brothers song), Two Ghost Stories, Sonata No. 3 in C major, BWV 1005: III. Largo (Johann Sebastian Bach cover), Sonata No. 3 in C major, BWV 1005: III. Allegro assai (Johann Sebastian Bach cover)

Encore: Helen (Nickel Creek cover)

Upcoming Tour Dates

Photo gallery by Tony Vasquez

Chris Thile at the Payne & Mencias Palladium at Allied Solutions Center for the Performing Arts in Carmel on April 10, 2026. Photo by Tony Vasquez for JPM

Andrew Bird Reimagines Eggs with the Indianapolis Symphony Orchestra

Andrew Bird with The Indianapolis Symphony Orchestra

Clowes Memorial Hall

Indianapolis, IN

April 9, 2026

There are anniversary tours, and then there are reinventions. On Thursday night at Clowes Memorial Hall, Andrew Bird didn’t just revisit The Mysterious Production of Eggs, he reframed it with accompaniment from the Indianapolis Symphony Orchestra. The results were mesmerizing.

Opening with the instrumental tease of “/= /,” the orchestra swelled underneath him like a tide coming in slow motion. “A Nervous Tic Motion of the Head to the Left” snapped into focus with a jittery elegance. “Fake Palindromes” and “Measuring Cups” leaned into their lyrical elasticity. By the time “Masterfade” and “Opposite Day” closed the first set, the album’s 20-year-old core had been fully re-sequenced, still intact, but undeniably evolved.

Set two pivoted hard, opening with “Pavane pour une infante défunte,” a nod to Bird’s deep classical instincts. There was a sense throughout that Bird wasn’t just performing songs. He was recontextualizing them in real time each night with a different symphony orchestra.

For an artist nearing three decades into his career, Andrew Bird remains stubbornly unclassifiable. At Clowes Memorial Hall, backed by the Indianapolis Symphony Orchestra, he didn’t try to fit into any tradition, he just expanded the edges of all of them.

Current Tour Info: https://www.andrewbird.net/home#tour

Set 1: /=/, Sovay, A Nervous Tic Motion of the Head to the Left, Fake Palindromes, Measuring Cups, Banking on a Myth, Masterfade, Opposite Day

Set 2: Pavane pour une infante défunte (Maurice Ravel cover), Skin Is My, The Naming of Things, MX Missiles, /=/=/, Tables and Chairs, The Happy Birthday Song, Orpheo Looks Back, Three White Horses

Encore: Pulaski at Night, Weather Systems

Photo Gallery by Tony Vasquez

Andrew Bird with the Indianapolis Symphony Orchestra at Clowes Memorial Hall on April 9, 2026. Photo by Tony Vasquez for JPM

Midweek Escape with Gov’t Mule

Gov’t Mule

Brown County Music Center

Nashville, Indiana

April 8, 2026

On a laid-back Wednesday night in Nashville, Indiana, Gov’t Mule turned the Brown County Music Center into a sanctuary of sound, offering fans a much-needed midweek escape through music. With a setlist that blended originals and a wide range of covers.

From the opening punch of “Stone Cold Rage,” it was clear the band was locked in. Covers like “Effigy” and “Folsom Prison Blues” were reimagined with the band’s unmistakable edge. The encore brought things full circle with a Tom Waits cover of “Get Behind the Mule.”

On a weeknight that could have easily been routine, Gov’t Mule delivered something far more meaningful. The show wasn’t just entertainment. It was an escape, a release, and a reminder of the power of live music.

Set 1: Stone Cold Rage, Rocking Horse, Wake Up Dead, Snatch It Back and Hold It/Hold It Back/Snatch It Back and Hold It, Shake Our Way Out, Thelonious Beck, Can’t You See ( The Marshall Rucker Band), Funny Little Tragedy

Set 2: Revolution Come Revolution Go, Blues Before Sunrise (Leroy Carr), What Is Hip? (Tower of Power cover), Beautifully Broken, Freeway Jam (Jeff Beck cover), Effigy (Creedence Clearwater Revival), Folsom Prison Blues (Johnny Cash cover), Thorazine Shuffle

Encore: Get Behind the Mule (Tom Waits cover)

Photo Gallery by Tony Vasquez

Gov’t Mule at the Brown County Music Center in Nashville, Indiana on April 8, 2026. Photo by Tony Vasquez for JPM.

Ethereal and Enduring: Giselle Enchants Inside Carmel’s Tarkington Theater

In Carmel, Indiana, the timeless beauty of Giselle took center stage inside the elegant Tarkington Theater. Presented as part of a long-standing tradition that dates back to its 1842 Paris premiere, this Grand Kyiv production reminded audiences why Giselle remains one of ballet’s most haunting and beloved works.

Set to the sweeping score of Adolphe Adam, the performance unfolded as a delicate balance of romance and tragedy. The story follows a young peasant girl whose heart is captured by a nobleman in disguise, only to be shattered by the truth. What begins as an innocent love story quickly descends into heartbreak, ultimately leading Giselle into the spirit world of the Wilis, vengeful souls of betrayed women who dance men to their demise.

The choreography, rooted in the legacy of Marius Petipa, Jules Perrot, and Jean Coralli, showcased both technical precision and emotional depth. From the light, airy movements of the first act to the eerie, ethereal presence of the Wilis in the second, each moment carried weight and intention.

The evening wasn’t just about documenting a performance, as it was about capturing the emotion, the motion, and the enduring legacy of a ballet that continues to resonate across generations.

Grand Kyiv Giselle photo gallery by Tony Vasquez

Grand Kyiv Ballet performance of Giselle at the Tarkington Theater in Carmel, Indiana on March 16, 2026. Photo by Tony Vasquez for Jams Plus Media.

Candlebox Brings the Can’t Quit You Tour to the Brown County Music Center

The chill in the air outside the Brown County Music Center on St. Patty’s Day didn’t stand a chance once Candlebox plugged in and lit up the room. The Can’t Quit You Tour 2026 rolled through Nashville, Indiana, like a time capsule cracked wide open. Equal parts flannel-era nostalgia and still-burning alt-rock fire.

While the band hit the stage, the vibe was set with a throwback radio-style intro, spinning ‘90s staples that transported the crowd straight back to the height of the grunge explosion. Then came frontman Kevin Martin, still commanding and gritty, leading a lineup locked in and loud. With Peter Klett on searing lead guitar, Adam Kury holding down the low end, Island Styles adding texture, and BJ Kerwin driving it all forward with punch.

They wasted no time diving into “Arrow” and “Simple Lessons,” setting a tone that balanced muscle and melody. “Happy Pills” and “Change” kept the momentum tight, hitting with a kind of reverence, songs that have aged alongside the crowd but haven’t lost their bite.

Mid-set, the band slowed the pulse just enough with the atmospheric intro into “Breathe Me In,” letting the room breathe before snapping right back into it. “What Do You Need?” and “Cover Me” carried that signature Candlebox blend of vulnerability and volume.

Three decades removed from their breakout, Candlebox isn’t chasing the past; they’re owning it. And on a cold Indiana night, that was more than enough to keep everyone warm.

Candlebox Photo Gallery by Tony Vasquez

Candlebox at the Brown County Music Center in Nashville, Indiana on March 17, 2026. Photo by Tony Vasquez for JPM

Nick Brown opening for Candlebox at the Brown County Music Center in Nashville, Indiana on March 17, 2026. Photo by Tony Vasquez for JPM

Dark Star Orchestra at the Brown County Music Center

Dark Star Orchestra

Brown County Music Center

Nashville, IN

March 10, 2026

Setlist: Hard to Handle, Morning Dew, That’s It for the Other One, Cryptical Envelopment, Sitting on Top of the World, Alligator Drums Jam, Doin’ That Rag, Foxy Lady Jam, Dark Star>Saint Stephen>William Tell Bridge>The Eleven>Turn On, Your Love Light, Viola Lee Blues>feedback, Love the One You’re With

Photo Gallery by Tony Vasquez

Dark Star Orchestra at the Brown County Music Center in Nashville, Indiana on March 10, 2026. Photo by Tony Vasquez for JPM

The Wood Brothers and Elizabeth Moen at the Taft Theatre

Headed over to Cincinnati on Sunday evening, the destination was the historic Taft Theatre, where The Wood Brothers rolled into town with special guest Elizabeth Moen for a night steeped in roots and reverence.

Moen opened the evening with a set that felt both unguarded and commanding. Her powerhouse vocals carried a raw, lived-in quality, while her introspective songwriting pulled the audience close. Blending folk sensibilities with a streak of soul, she created an intimate, slow-burning atmosphere that settled beautifully into the ornate room, setting the tone with quiet confidence and emotional depth.

When The Wood Brothers took the stage, their trademark harmonies and telepathic interplay immediately filled the theater. The trio continues to carve its own lane in the Americana landscape, weaving together folk, blues, gospel hues, and back-porch rhythm into something unmistakably their own. Oliver Wood’s earthy vocals, Chris Wood’s elastic bass lines, and Jano Rix’s inventive percussion formed a tight, breathing unit with each song unfolding with grit, grace, and a touch of improvisational spark.

Up next, The Wood Brothers continue their run with a stop at Duling Hall before heading to the legendary Ryman Auditorium in Nashville on Thursday night—a fitting stage for a band that honors tradition while steadily writing its own chapter within it.

Photo Gallery by Tony Vasquez

The Wood Brothers at the Taft Theatre in Cincinnati, OH on March 1, 2026. Photo by Tony Vasquez for JPM

Elizabeth Moen opening for The Wood Brothers at the Taft Theatre in Cincinnati, OH on March 1, 2026. Photo by Tony Vasquez for JPM

Blues Traveler and Gin Blossoms at the Fishers Event Center

Fishers, Indiana

On a cold February night in Fishers, Indiana, the Blues Traveler and Gin Blossoms didn’t just share a bill, they shared a time machine. Gin Blossoms opened the evening with the jangling ache of “Follow You Down.” The Arizona band ran through songs like “Until I Fall Away” and “Lost Horizons” before they hit on “Found Out About You.” “Followed by Allison Road” and “Hey Jealousy,” which turned the arena into a full-throated choir. They closed with “Til I Hear It From You.”

Then came Blues Traveler, and with them, velocity. The band wasted no time, kicking the doors open with “Run-Around,” John Popper’s harmonica lines still spiraling like a freight train. Popper remains a marvel — equal parts virtuoso and ringmaster with bending notes and time itself.

The covers told their own story. A loose, barroom swagger defined “Mary Jane’s Last Dance,” tipping a respectful hat to Tom Petty and the Heartbreakers. Then things got rowdy with “The Devil Went Down to Georgia,” originally by The Charlie Daniels Band, with Popper’s harmonica stepping into the fiddle’s role with wicked delight. When “Hook” arrived, it felt like a thesis statement with its irony and self-awareness. The song that once poked fun at pop formula has outlasted plenty of it.

What made the night resonate wasn’t just the hits. It was the endurance. Both bands have weathered shifting trends, collapsing industries, and the fickle churn of streaming-era attention spans. Yet here they were, filling an arena in Indiana with songs written before some in the audience were born.

Call it nostalgia if you want. But on this night in Fishers, it felt more like proof that well-written songs, played loud and played honestly, don’t expire.

Photo Gallery by Tony Vasquez

Blues Traveler at the Fishers Event Center in Fishers, Indiana on February 20, 2026. Photo by Tony Vasquez

Gin Blossoms at the Fishers Event Center in Fishers, Indiana on February 20, 2026. Photo by Tony Vasquez

Sierra Hull and The Milk Carton Kids at the Brown County Music Center

Last night, the stage at the Brown County Music Center happened to be my first concert of the year, and if you’re going to set the tone for the next twelve months of chasing light and sound with a camera in hand, this was the way to do it. Sierra Hull with The Milk Carton Kids was a masterclass in musicanship and a dream to capture.

Hull, widely regarded as one of the most inventive players in modern acoustic music, walked out with the calm of someone who’s done this on the biggest stages imaginable — from Carnegie Hall to the Grand Ole Opry — but she played like she still had something to prove. A six-time GRAMMY nominee and seven-time IBMA Mandolin Player of the Year, Hull doesn’t just pick; she detonates.

From behind the lens, her speed was mesmerizing: fingers a blur, posture steady, expression locked in somewhere between joy and deep concentration. Every frame felt alive.

Starting off the night, Kenneth Pattengale and Joey Ryan of The Milk Carton Kids countered with bone-dry wit and immaculate musical interplay. The Eagle Rock, Los Angeles duo has built a reputation since 2011 on tight harmonies and minimalist precision, and live, that restraint becomes magnetic. No wasted movement. No extra flourish.

Their songs unfolded like short stories filled with wry, intimate moments, and when Hull joined them, the chemistry snapped into focus. The interplay made for compelling visuals: three players leaning inward, trading glances, subtle smiles, silent cues. No drums. No spectacle. Just wood, wire, and nerve.

They have four dates left together — February 19 at the Flagstar Strand Theatre in Pontiac, Michigan; February 20 at the Blue Gate Performing Arts Center in Shipshewana, Indiana; February 21 at The Celestia Theater in Wadsworth, Ohio; and February 22 at the Peoples Bank Theatre in Marietta, Ohio.

For my first concert of the year, it wasn’t just a great one to attend; it was a great one to capture. A reminder that sometimes the most powerful shows aren’t the loudest. They’re the ones that make you lean in, adjust your focus, and wait for the next note to ring.

Photo Gallery by Tony Vasquez : https://jamsplus.smugmug.com/TonyVasquezPhotography/Sierra-Hull-with-the-Milk-Carton-Kids-