Arts and Entertainment

Volunteer Day: Ryan Resilience Lab Invasive Plant Removal

March 18 2026

10:00 a.m. - 12:00 p.m.

Elizabeth River Project - Ryan Resilience Lab 4610 Colley Ave, Norfolk, VA 23508, USA, Price: Free

🌿 Volunteer Opportunity: Help Us “Do Something Beautiful”! 🌿

Join the Elizabeth River Project at the Ryan Resilience Lab as we prepare for native plantings in Knitting Mill Creek Park, our upcoming community pocket park! We’re looking for volunteers to help remove invasive species like Phragmites.

This is a chance to “Do Something Beautiful” by connecting with nature in a meaningful way. You’ll be working alongside our team to restore balance to the ecosystem and make space for plants that truly belong.

🧤 All supplies will be provided—including gloves.

💧 Dress for outdoor work and bring your reusable water bottle.

🧤 If you have preferred work gloves, feel free to bring them along!

Let’s work together to create a space that supports biodiversity, community, and resilience.

Arts and Entertainment

Opening of “Weaving Bullrush,” an Original Show by Desmond Ellsworth

March 27 2026

10:00 a.m. - 12:00 p.m.

Elizabeth River Project - Ryan Resilience Lab 4610 Colley Ave, Norfolk, VA 23508, USA, Price: $5 for Elizabeth River Project members and $10 per person for non-members

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A new work by Nansemond artist Desmond “A’siiMost Moskwaa” Ellsworth

Enter a quiet world shaped by riverlight and memory, where native plants gathered along the Elizabeth River become living threads.

Weaving Bulrush reveals Ellsworth’s meditative tapestries—works that carry the ancestral knowledge of Indigenous Southeastern basket weavers.

A serene meeting of land, lineage, and contemporary form.

Arts and Entertainment

Volunteer Litter Cleanup-Colley Avenue

February 10 2026

10:00 a.m. - 12:00 p.m.

Elizabeth River Project - Ryan Resilience Lab 4610 Colley Ave, Norfolk, VA 23508, USA, Price: Free

Visit Website

Come help make the Elizabeth River a cleaner and healthier place for all by participating in a litter cleanup! All cleanup supplies provided.

Arts and Entertainment

Steel Panther

April 5 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

Visit Website

For the uninitiated, Steel Panther was formed in 2000. Hailing from Los Angeles, the epicenter for rock n’ roll in all its debauchery and glamour, Steel Panther has established themselves as the world’s premier party band, melding hard rock virtuosity with parody and criminally good looks. Steel Panther is a global phenomenon with four full-length albums, touring across the world, platinum-level You Tube status and high-profile television appearances such as Jimmy Kimmel Live, Larry King Now, and FOX NFL Sunday.

Rolling Stone avowed, “There’s a reason Steel Panther have transcended their origins as a cover band playing the Sunset Strip,” while Metal Sucks declared, Steel Panther’s concept is genius…their songwriting is…preposterously snappy – and relatable.”

Arts and Entertainment

Juvenile's Boiling Point Album Release Tour

April 14 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

Visit Website

Simply put, hip-hop might not be the same without Juvenile.

Over nearly three decades, the multi platinum record-breaking New Orleans icon served up a string of classic albums, influenced two generations of stars, and pioneered a sound rooted in Louisiana bounce, yet carried by worldwide rap appeal and ambition. Like all timeless stories though, his stretches back to humble beginnings in the neighborhood his music put on the map: the Magnolia Projects. As if predisposed by destiny to pick up a microphone, he heard Melle Mel’s verse on “The Message” by Grandmaster Flash & The Furious Five, commenced spitting, and never stopped since…

After his Cash Money Records debut Solja Rags, he crafted an era-defining opus in the form of 400 Degreez. Not only did it go quadruple-platinum, but it also became “the best-selling album in Cash Money Records History.” It produced staples such as the title track, “Ha” (which JAY-Z notably remixed), and “Back That Azz Up.” The latter would be sampled by everyone from Drake to City Girls. The Ringer lauded 400 Degreez among the “20 Best Southern Rap Albums Ever” behind only UGK’s Ridin’ Dirty and OutKast’s Aquemini. Pitchfork bestowed a rare 9.4-out-of-10 rating upon the record, and Kendrick Lamar cited it as one of his “Favorite Albums” in Complex and went so far as to claim, “They had the West Coast on smash. We definitely tried to be like them.” The heat spread far and wide across the United States.

Around the same time, Juvenile comprised The Hot Boys alongside Lil Wayne, B.G., and Turk. Together, they smashed charts with the Get It How U Live! [1997] and the platinum Guerilla Warfare [1999]. His next solo offering, Tha G-Code, went double-platinum followed by the platinum Project English. Meanwhile, 2003’s Juve The Great emerged as another unsung platinum classic as “Slow Motion” [feat. Soulja Slim] topped the Billboard Hot 100 at #1 for two weeks. He maintained a prolific pace in the ensuing years and collaborated with everyone from Future to Yo Gotti before reuniting with Cash Money Records.

The chemistry thrives on their 2019 first full-length collaborative album, J.A.G.It boldly extended Juvenile’s own legacy with unanimous praise from Pitchfork, Rolling Stone, and Billboard as the singles “Just Another Gangsta” and “Dreams” [feat. NLE Choppa] tallied over 20 million total streams and views. Moreover, it preceded the stage for another collaborative effort and an O.G. Cash Money Records reunion on “Ride Dat” [feat. Lil Wayne].

Juvenile also inspires the next generation as his song Young Juve picks up the microphone for a bevy of upcoming singles. In the end, Juvenile continues to shape and spearhead the future of hip-hop.

Arts and Entertainment

The Black Dahlia Murder at NorVa

April 15 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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Verminous is The Black Dahlia Murder’s most dynamic, rousing and emotional release to date, and it achieves this without compromising one iota of heaviness. “I think this is the biggest evolutionary leap we’ve ever taken from one album to the next. We stoked the creative fires with 2017’s Nightbringers and it’s gone much further now in Verminous,” states vocalist Trevor Strnad. “It’s a very colorful, moody, and charismatic album that experiments with new sounds and ideas without losing the cutthroat Black Dahlia edge. There is a lot of minutiae to digest. Plenty of delicious little easter eggs woven into the fabric of each song. Each one is a living, breathing entity that will stand on its own as some of the best music this band has ever created.”

That this is a new phase for The Black Dahlia Murder is apparent as the compellingly filthy opening title track rumbles to life, and the album remains gripping for each of the nine tracks that follow. One of the most immediately evident evolutions is in how anthemic their ninth record is, the band inspiring fist-in-the-air responses, particularly in closing track “Dawn Of Rats”. “Verminous has got some really huge parts that I’m sure will resonate greatly with our fans. It was definitely intentional on our part – a band can only hope to write a song so good that it would be seen as an anthem.” Likewise, there is more melancholy on the record, particularly on “Removal Of The Oaken Stake” and “Sunless Empire”, adding another dimension to the band’s sound and expanding the dark sonic palette with which they paint, all of this coming naturally. “As usual, there was no discussion nor preemptive planning going into the album. We prefer to keep things completely organic and just let the music flow when the time is right. We just write what we write. I do however think it’s been an underlying goal for the last several years to make more diverse music. We want an album to feel like a wild ride. A journey from beginning to end that has peaks and valleys.”

When it came to titling the record, Strnad looked around at the scene he has helped nourish for two decades and found his inspiration. “We, members of our beloved and hidden world of the heavy metal underground teeming just below the surface, are the verminous. The rats and roaches looming in the cracks and crevices of this fallen world. We are the pariahs that the world of normality finds loathsome and obscene. We are the carriers of a plague of knowledge so vile that it could bring the unsuspecting mankind to its knees. Always the underdogs. Our love for this music and what it means to our lives is foolishly underestimated.” This ties into the lyrical themes that permeate the record, though not exclusively, Strnad not struggling to find subject matter that engaged him. “The outside world of religion-warped ‘normalcy’ is the opposing viewpoint. We are the ultimate antagonist to their archaic ways of thought, the dreamers of the nightmares that shake them to their very core. Although we are but lowly vermin to them, the unseen and underestimated, our numbers are millions strong. We cast aside their ways and prefer to take solace in the hidden realm of the underground where the dark fruits of free thought can be enjoyed. We are our own Gods. The responsibility of our actions is ours alone.” In his position, he is also able to both provide listeners with opportunities to exorcise compulsions toward exploring dark themes and find some personal release. “Not unlike the appeal of a horror movie, there is a curiously dark side in all of us that can enjoy the occasional gaze through the eyes of the all-powerful masked killer. I enjoy taking the listener on such a ride. There is a certain catharsis in putting myself into the heart of each character I create. Where I lack power in my life, I channel it in my creations.”

While the drums were recorded at The Pipeyard in Plymouth, Michigan by ex-bassist and longtime studio guru Ryan “Bart” Williams, the bulk of the album was recorded in New Jersey at guitarist Brandon Ellis’ home studio, the Shred Light District, then mixed by Tue Madsen and mastered by Alan Douches. Keeping the bulk of the process in house offered them a greater level of control over every facet of recording than on any previous release, enabling them to tweak and fine-tune all the small details right up until the point they sent it to Madsen in Denmark. “To say we were anal-retentive would be an understatement. Tue did an outstanding job. His mix is organic. Classic sounding. Not too slick. It’s got an old school ‘real life’ feel to it rather than being the overly polished quantized-to-hell drek that is coming out these days. We wanted the album’s sound to have its own personality, and he helped us achieve just that. Finally, Alan did a great job of smoothing out the final details with his mastering. He beefed it up into what you hear now.” The only other outside collaborators with which the band worked were soundscape artist Michael Ghelfi, who provided the sample that opens the record and “sets the pest-ridden vibe”, and Juanjo Castellano, who painted the cover. “It’s amazing and classically death metal cover artwork. I call it an evil underground sewer world, home to the verminous ones. If you look closely you can find all kinds of rats and bugs and critters scattered throughout. The amount of detail Juanjo put in there is second to none.”

As has been their MO since inception the band intend to tour the record hard, planning on being on the road with Verminous for the next two to three years, as long as the demand is there. Having had very successful tours with Whitechapel and Meshuggah on the Nightbringers cycle, as well as converting some newbies to the Black Dahlia cause while out with Black Label Society and Insomnium, they look forward to the challenge of playing the increasingly complex music in which they deal. “It’s like a drug, the challenge of it all. There is a masochistic thrill in performing this technically demanding music that you just can’t get anywhere else. We are a live band through and through. We live to destroy ourselves onstage every night. We give one hundred and ten percent every time and drain ourselves until there is nothing left to give. It’s a good pain and I wouldn’t do things any other way.”

Arts and Entertainment

Hippie Sabotage

April 19 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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Hippie Sabotage is an electronic music duo comprised of brothers Kevin and Jeff Saurer. They began their journey as bedroom producers in middle school, inspired by the music featured in their favorite skateboarding videos. Over the years, they have developed a genre-blending sound that fuses electronic music with hip-hop and psych-rock influences.

The duo first gained international recognition with their remix of Tove Lo’s “Habits (Stay High),” which has amassed over 1 billion views on YouTube and 1.6 billion streams on Spotify since its release. Their tracks “Devil Eyes,” “Life Happens,” and “Options” have further contributed to their success, helping them secure over 13 billion streams worldwide.

Following the release of their 2023 album Trailblazer, they collaborated with A.G. Club and Izzy Bizu and executive produced the album Sleep Paralysis for TDE’s Kembe X. In the summer of 2024, they surprised fans with No Judgement, a mixtape inspired by their love for Hawaii.

Known for their high-energy live performances, Hippie Sabotage embarked on a massive 46-date North American tour in early 2024, culminating in a sold-out show at the iconic Red Rocks Amphitheatre.

Arts and Entertainment

Silversun Pickups

May 2 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

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Silversun Pickups’ sixth album Physical Thrills came together as a serendipitous accident during a dark time. The LA band began 2020 by touring in support of their record released the previous year, Widow’s Weeds. But the pandemic halted those plans, with the members including guitarist and singer Brian Aubert, bassist Nikki Monninger, drummer Christopher Guanlao, and keyboardist Joe Lester, finding themselves stuck at home. In that resting period, Aubert wasn’t focused on Silversun Pickups; instead, he channeled his energy into taking care of his son, Nico, while his wife Tracy worked.

But as much as his focus initially shifted from the band, he couldn’t escape the new melodies germinating in his head. “I would sneak off and start writing these songs, and I didn’t know what they’re for because I didn’t really think about Silversun on any level. I was just doing it to keep myself calm and keep myself company,” says Aubert. The songs were so different from what he’d previously written for Silversun Pickups that he initially thought he was writing a musical. There were “dream shanties,” gentler vocals, horror-inspired sounds, and other exciting new elements coming to mind.

The band finally was able to gather in person for a live-streamed acoustic performance on Halloween for The Dark Zone Network’s virtual music festival Queen Mary, and it was there that Aubert revealed the new material to his bandmates. They readily embraced the new direction—and so did producer Butch Vig. The band reunited with Vig, who first worked with Silversun Pickups on Widow’s Weeds, recording the record at the famed producer and Garbage member’s home.

When Aubert first reached out to Vig, he wasn’t sure if the band was making an EP or a full record; Widow’s Weeds was still fresh for Silversun Pickups. But once Aubert made plans to visit Vig and play him what he had, the music began pouring out. He immediately began recording with Vig, later having the rest of the band join.

Once the band began working on Physical Thrills together, they made some of Silversun Pickups’ most stunning songs yet. The record doesn’t depart drastically from the sound the band’s fans know and love, but rather enhances it with previously-unexplored fixtures at play.

Physical Thrills was colored by the pandemic, but isn’t meant to be solemn; instead, Aubert explores his own comfort in the temporary, newfound isolation. There’s a juxtaposition of playfulness with angst from having so much time to process untapped emotions. That’s something that comes through in the album’s instrumentation, too, with wide-ranging sounds that transform according to the weight of the lyrics.

There are tracks with shoegaze-infused distorted synths and guitar, like opener “Stillness (Way Beyond)”; bouncy, pop-tinged danceable tunes (“Empty Nest,” “Hereafter (Way After)”); pared-down ballads (“Alone On A Hill”); and a collection of “dream shanties,” as Aubert refers to them.

The titles of those shanties call back to “Dream At Tempo 119” off the band’s 2006 debut record, Carnavas, tying the band’s beginnings with the current, evolved iteration of Silversun Pickups. But, this time, the instrumentation matches the lyrics. Aubert forgoes the heavy guitars to instead create magical lullabies: “Dream At Tempo 050,” “Dream At Tempo 310,” and “Dream At Tempo 150.” Each carries a secret code in the title with numbers personal to Aubert.

With such an exploratory record, the band members felt free to traverse new ground. Guanlao, who usually shies away from fills on drums, took inspiration from The Beatles documentary Get Back, throwing some into Physical Thrills, influenced by Ringo Starr’s work on Let It Be. Whereas for Monninger, this record allowed her to showcase her vocals at the forefront more than in previous work. Joe also took a larger role in composition on this record, writing the piano part for “We Won’t Come Out,” which became the backbone for the song.

The making of Physical Thrills also allowed for whimsical moments, including Aubert creating a distinct tapping noise by incorporating the sound of drumsticks hitting Vig’s Grammy in “Hidden Moon,” and playfully pelting balloons at Monninger while she played “Hereafter (Way After)” on bass to create less tension.

While this record features such an eclectic mix of melodies, each song is interconnected with each other, meant to be experienced as a whole body of work. “All of our records are designed for people who want to listen to them all the way through and hopefully stick around with it,” says Aubert. “After a while, maybe you’ll catch on to the little things—not just the [pattern of] the dream songs, but maybe you’ll hear that, and you’ll hear a melody from the first song in the last song. There are crossover things happening.”

Lester says, “Physical Thrills is exactly the record that we wanted to make, which I’m really stoked about because sometimes you look back and think, ‘Well, that’s maybe not exactly how we would have done it’ when you go back and listen to it years later.’ But I feel really proud of this one. I think the songs that Nikki sings on are like the best ones we’ve done for her to sing on. The lyrics are better than they’ve ever been.”

Monninger adds, “We’ve been together for twenty-two years; it’s really interesting that we still love doing this. We know that we’re fortunate to still be together after all these years, seeking out the silver lining. I feel like we still have many more things to say, and we’re so happy with how this album turned out.”

Arts and Entertainment

Sevendust One Tour

May 11 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

Visit Website

Sevendust never follow a linear path. Instead, they continue to bulldoze a lane of their own with a proven
one-two punch of rumbling grooves, unpredictable riffing, and stirringly soulful vocals unlike anything else
in hard rock. As a result, their music connects straight to the heart as evidenced by their full-contact live
shows and diehard “family” of fans. It’s why they’ve been around since 1994, tallied global sales of seven
million, logged three gold-selling albums, delivered three Top 15 debuts on the Billboard 200, and
garnered a GRAMMY® Award nomination in the category of “Best Metal Performance.” They’re the rare
force of nature who not only graced the bills of Woodstock and OZZfest, but also Shiprocked! and Sonic
Temple and some of the largest stages around the globe. Along the way, they’ve notably collaborated with
everyone from members of Deftones, Daughtry, and Staind to Alter Bridge, Periphery, and Xzibit. 2020
saw them deliver one of the most-acclaimed albums of their career with Blood & Stone, which Metal
Hammer christened “Sevendust’s best work in years” and Outburn dubbed “everything a Sevendust fan
could want.”

However, the Atlanta quintet—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals],
John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—defy
expectations yet again on their fourteenth full-length and debut for Napalm Records, Truth Killer.
“We really cared about the process,” notes Clint. “It’s never a straight line with Sevendust. We’ve always
made left turns and dip into super heavy and very melodic sounds. We still try to do things a little
differently. I think we recreated the magic on this one, and we overcommitted to making sure every song
was great.”

In order to do so, the guys regrouped as friends first. Initially, they decamped to Lajon’s farmhouse. Over
the course of four days in 2022, they demoed out the bulk of the record, rekindling the spark that defined
their seminal output.

“We wanted to be friends again, shoot the shit, and become that garage band we were,” Clint goes on.
“It set the tone for our relationship, and the creativity opened up. We got back together and made another
fun record.”

Once again, they recorded in Florida with producer Michael “Elvis” Baskette [Alter Bridge, Mammoth,
Trivium]. This time around, they expanded the soundscape, incorporating programming by Clint and
adding cinematic heft to their signature style.

“We took our time on this record,” he goes on. “We pulled in a lot of electronic elements. In the past, I
hired outside programmers, but I did the programming myself. I tried to create a musical bed that made
it easy to sing cool vocal parts. We always set a goal to have a certain sound, and we followed through
with it. We didn’t compromise.”

As such, the album opens with perhaps the biggest departure, the slow-burning “I Might Let The Devil
Win.” Piano pierces glitchy beat-craft as Lajon’s delivery borders on magnetic and manic as he confesses,
“I want to give in, oh no, the devil won’t win.”

If Trent Reznor produced The Weeknd, it might sound something like this…
“When we agreed on the song, we realized we could do anything,” says Clint. “The vocal is really upfront
and in your face. It seems like he’s whispering the lyrics in your ear. You keep resisting temptations, but
finally you’re like, ‘It’s just who I am. I’m going to do it’.”

On the other end of the spectrum, the first single and finale “Fence” goes right for the jugular with
pummeling drums, a chugging riff, and guttural barks from Lajon. It crashes right into a hammering hook
before spiraling into an incendiary solo.

“It has the old school Sevendust vibes,” he smiles. “It was really a product of collaboration at the
farmhouse. Morgan was playing, and we all started jamming in the same room. I’m so glad we got a chance
to do a headhunter like ‘Fence’ for this album.”

The title track “Truth Killer” fuses searing orchestration with a rush of distortion and powerhouse refrain.
“Nobody wants to hear the real truth,” laments Clint. “They want things sugarcoated and watered-down,
so they can feel better. It definitely spoke to the overall tone of the subject matter.”
Then, there’s “Everything.” A jarring guitar melody underlines an affirmation on the catastrophically
catchy chorus. “You’re basically saying, ‘I’ll be anything you need me to be, and I’ll be there for you in every
way possible’,” he elaborates.

As if baptized in frustration, “Holy Water” snakes through an off-kilter bounce over incisive synths towards
a massive chant, “Someday I’ll see the light. I hope before I die.”
“None of us are perfect, so there’s no reason to judge,” Clint observes. “We’re all trying to figure it out,
but a lot of people will sling their holy water at you and act like they’re better than everyone. I have a
definite belief and relationship with God, but I’m not here to make anyone believe anything.”
“Superficial Drug” intoxicates with a sinewy bass line and head-nodding groove as one of the record’s
most melodic moments takes hold.

“Everyone needs the ‘follows’ and ‘likes’,” he continues. “The social media world is very superficial for the
most part. It’s part of the design, and I’m guilty of it too. So, the song says, ‘Go ahead and take your
superficial drug. I’m over it’. I want to be around people where there’s depth to the conversations. We
have enough friends. We would die for our fans and the Sevendust family. That’s all we need.”
In the end, Truth Killer reaffirms there’s only one Sevendust—and they’re here forever.
“As a kid who used to wait in lines to see concerts, I want to deliver the artistic quality I was looking for as
a fan,” Clint leaves off. “I want people to know we cared, took some chances, and still have the creative
spark. I want them to know we have more to say and more to prove.”

Arts and Entertainment

Black Veil Brides

May 12 2026

10:00 a.m. - 12:00 p.m.

The NorVa 317 Monticello Ave, Norfolk, VA 23510, Price: Price may vary

Visit Website

Committed to uncompromising expression, with a foundation in hard rock tradition and rule-breaking iconoclasm, Black Veil Brides is a transcendent celebration of life-affirming power and anthemic catharsis. A gothic vision first summoned in a small town by an isolated kid fascinated with death, rock, theatricality, and monsters (both real and imagined), Black Veil Brides is now a postmodern heavy metal institution with a legion of like-minded fans and supporters worldwide.

A new chapter in the band’s ever-evolving story arrives with The Phantom Tomorrow, an ambitious sixth album pushing the music of Black Veil Brides forward without sacrificing their beloved signature sound. Built around a thematically rich story, written by singer Andy Biersack, The Phantom Tomorrow combines imaginative worldbuilding with unrelentingly catchy and melodic bombast.

The twin-guitar attack of Jake Pitts and Jinxx cut through with sharp precision, overtop the steady pulse of powerhouse drummer Christian Coma and the fluid, rhythmic dynamics of Lonny Eagleton. Biersack’s rich baritone croon and soaring passion are anchored in the biggest hooks of the band’s career. Recorded in Los Angeles, with producer Erik Ron (Godsmack, Bush, Dance Gavin Dance), The Phantom Tomorrow excels as a series of standalone songs and a cohesive conceptual album.

The band’s strident opposition to conformity and obstacles (from both within and without) strikes a chord with every outcast who felt drawn to the allure of the dark. It’s evident in the 160 million-plus views of “Knives and Pens,” an early demo committed to video before singer Andy had found his band of brothers. The RIAA-certified gold single “In the End,” which itself boasts over 150 million views, is proof that the group whose merchandise dominated Hot Topic stores before they’d even dropped their debut album was no mere passing fad or ill-fated “scene.” This was built to last.

Volunteer Day: Ryan Resilience Lab Invasive Plant Removal

March 18 2026

10:00 a.m. - 12:00 p.m.

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New Elizabeth River Trail HQ Gives Norfolk Visitors a Fresh Way to Explore

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Opening of “Weaving Bullrush,” an Original Show by Desmond Ellsworth

March 27 2026

10:00 a.m. - 12:00 p.m.

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New Elizabeth River Trail HQ Gives Norfolk Visitors a Fresh Way to Explore

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Volunteer Litter Cleanup-Colley Avenue

February 10 2026

10:00 a.m. - 12:00 p.m.

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New Elizabeth River Trail HQ Gives Norfolk Visitors a Fresh Way to Explore

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Steel Panther

April 5 2026

10:00 a.m. - 12:00 p.m.

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Juvenile's Boiling Point Album Release Tour

April 14 2026

10:00 a.m. - 12:00 p.m.

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The Black Dahlia Murder at NorVa

April 15 2026

10:00 a.m. - 12:00 p.m.

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Hippie Sabotage

April 19 2026

10:00 a.m. - 12:00 p.m.

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Silversun Pickups

May 2 2026

10:00 a.m. - 12:00 p.m.

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Sevendust One Tour

May 11 2026

10:00 a.m. - 12:00 p.m.

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Black Veil Brides

May 12 2026

10:00 a.m. - 12:00 p.m.

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