Sat Mar 7 2026

8:00 PM (Doors 7:00 PM)

The Masonic Lodge at Hollywood Forever

5970 Santa Monica Blvd Los Angeles, CA 90038

The Masonic Lodge at Hollywood Forever

5970 Santa Monica Blvd Los Angeles, CA 90038

$12.35 - $40.04

All Ages

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ONSITE PARKING OPENS 6PM
PURCHASE ONSITE PARKING IN ADVANCE ONLINE HERE
 
Limit 4 tickets per household / customer / email / account / CC / address.
Purchases that exceed the 4 ticket limit are subject to cancellation.
Orders placed for the sole purpose of resale may be cancelled without notice.
 
The show will be held in a beautiful Masonic Lodge built in 1931.
There are no elevators in this historic landmark.
Ascending stairs is required to enter the venue.

Florist Performs 'The Birds Outside Sang' & 'Holdly'

  • Florist

    Alternative Rock

    Florist began in the Catskill Mountains as the friendship project of Emily Sprague, Rick Spataro, and Jonnie Baker, later joined by Felix Walworth. Holdly (2015) and The Birds Outside Sang (2016) captured the earliest moments of that bond; hushed, homespun songs shaped equally by intimacy and resilience. The latter was written in the aftermath of Sprague’s near-fatal bike accident, beginning in solitude and concluding with the band’s return to each other, offering a portrait of healing, community, and the power of sound shared among friends. These recordings became cornerstones of Florist’s world: quiet yet expansive, deeply personal yet instantly connective.
     

    In the years since, Florist has carried those themes forward across four more full-lengths. If Blue Could Be Happiness (2017) offered a meditation on grief and memory, while Emily Alone (2019) distilled Sprague’s voice into stark, solitary reflections before the band reunited for the expansive, self-titled Florist (2022), a culmination of their collaborative spirit. Most recently, Jellywish (2025) found the quartet embracing surrealism and possibility, holding both the magic and weight of existence at once. A decade on, the reissue of Holdly and The Birds Outside Sang highlights the origins of that journey, preserving the tenderness and friendship at Florist’s core while tracing the roots of a band that continues to evolve with wonder and care.

  • Emily Yacina

    Indie Pop

    Emily Yacina has been self-releasing music for over a decade, offering a “treasure trove of wrenching melodies and delightfully off-kilter meditations on time and absence” (Stereogum). Although she’s collaborated with some of the most notable names in indie rock, including Alex G and Rostam, Yacina is a singular artist. Her voice is compelling and instantly recognizable, sometimes winking, lilting, or layered and chopped and used as an instrument. Veilfall arrives six years after the release of her debut studio album, and is another mesmerizing entry in her catalogue. Illuminating Yacina’s sharp command of crystalline production, Veilfall showcases an expanded roster of collaborators operating at the highest level. Her ability to mine intangible emotions is sage-like, as she navigates formless concepts like the process of grieving, and the types of alienation that can follow in its wake.
     

  • Duffy x Uhlmann

    Indie Rock

    Blurring the limits between speed and slowness, Meg Duffy (guitar) and Greg Uhlmann (guitar) communicate in velocities, underwriting each other’s peaks and flurries as they ache toward a mutual horizon. These one-take improvisations, recorded in Uhlmann’s brothers’ house on a borrowed tape recorder, unfold like a game of truth or dare. Their constant motif is an unceasing return, a steady heartbeat they mutually commit to, knowing when one wanders off, the other will either follow or call them home. Here, flushness overrides order, each note saunters by like initials etched into tree bark: a devotion both passing and eternal.

    After playing in Perfume Genius and Hand Habits, Duffy and Uhlmann embarked on their first record together, Doubles. A testament to the wordlessness of their musical intimacy, Duffy and Uhlmann take up the guitar in order to make an imprint of the slowness and presence of their improvisational practice. They weave together a sonic meditation, embracing intuition and relying on trust. Side A of Doubles consists of two guitars in conversation: looping feelings, braiding sound, blowing kisses, and finishing each other’s sentences. Less of an echo and more of nod, the songs unfold in radical, mutual witnessing. Refraining from any over dubs or edits on the final tracks, the immediacy of the compositions makes it feel like we are in the room with them.

    Where Side A establishes a glistening intimacy, Side B takes on the tone of sonic scavenging, incorporating sounds from their past year of touring together. Taking the self as source material, the second half of the album dismantles the presence of Side A in order to incorporate the tactility of memory. Using samples from the road and from the world, these compositions are a scrap book of glued and chopped up sound. When I listen, I feel the crunchiness and static of being-in-the-world as it is mediated by time. Without us knowing, our devices capture sounds we may have missed the first time around. And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.

    True presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. All.

    The intimacy in these songs dances like shadows - providing relief even as they slip away. I want to put this music in my pocket and hold it in my palm like a worn down stone. Duffy and Uhlmann give us a sweet rawness that reverberates even once the song is over, hitting the body the very moment words fall away. – Rosie Stockton
     

Please correct the information below.

Select ticket quantity.

Select Tickets

limit 6 per person
GA Standing

$40.04 ($30.00 + $10.04 fees)
ONSITE PARKING

This is an onsite parking pass - THIS IS NOT A TICKET - Onsite parking opens at 6PM - EVERYONE IN VEHICLE MUST HAVE A TICKET

$12.35 ($10.00 + $2.35 fees)

Delivery Method

eTickets

Florist Performs 'The Birds Outside Sang' & 'Holdly'

Sat Mar 7 2026 8:00 PM

(Doors 7:00 PM)

The Masonic Lodge at Hollywood Forever Los Angeles CA

$12.35 - $40.04 All Ages

ONSITE PARKING OPENS 6PM
PURCHASE ONSITE PARKING IN ADVANCE ONLINE HERE
 
Limit 4 tickets per household / customer / email / account / CC / address.
Purchases that exceed the 4 ticket limit are subject to cancellation.
Orders placed for the sole purpose of resale may be cancelled without notice.
 
The show will be held in a beautiful Masonic Lodge built in 1931.
There are no elevators in this historic landmark.
Ascending stairs is required to enter the venue.

Florist began in the Catskill Mountains as the friendship project of Emily Sprague, Rick Spataro, and Jonnie Baker, later joined by Felix Walworth. Holdly (2015) and The Birds Outside Sang (2016) captured the earliest moments of that bond; hushed, homespun songs shaped equally by intimacy and resilience. The latter was written in the aftermath of Sprague’s near-fatal bike accident, beginning in solitude and concluding with the band’s return to each other, offering a portrait of healing, community, and the power of sound shared among friends. These recordings became cornerstones of Florist’s world: quiet yet expansive, deeply personal yet instantly connective.
 

In the years since, Florist has carried those themes forward across four more full-lengths. If Blue Could Be Happiness (2017) offered a meditation on grief and memory, while Emily Alone (2019) distilled Sprague’s voice into stark, solitary reflections before the band reunited for the expansive, self-titled Florist (2022), a culmination of their collaborative spirit. Most recently, Jellywish (2025) found the quartet embracing surrealism and possibility, holding both the magic and weight of existence at once. A decade on, the reissue of Holdly and The Birds Outside Sang highlights the origins of that journey, preserving the tenderness and friendship at Florist’s core while tracing the roots of a band that continues to evolve with wonder and care.
Emily Yacina has been self-releasing music for over a decade, offering a “treasure trove of wrenching melodies and delightfully off-kilter meditations on time and absence” (Stereogum). Although she’s collaborated with some of the most notable names in indie rock, including Alex G and Rostam, Yacina is a singular artist. Her voice is compelling and instantly recognizable, sometimes winking, lilting, or layered and chopped and used as an instrument. Veilfall arrives six years after the release of her debut studio album, and is another mesmerizing entry in her catalogue. Illuminating Yacina’s sharp command of crystalline production, Veilfall showcases an expanded roster of collaborators operating at the highest level. Her ability to mine intangible emotions is sage-like, as she navigates formless concepts like the process of grieving, and the types of alienation that can follow in its wake.
 
Blurring the limits between speed and slowness, Meg Duffy (guitar) and Greg Uhlmann (guitar) communicate in velocities, underwriting each other’s peaks and flurries as they ache toward a mutual horizon. These one-take improvisations, recorded in Uhlmann’s brothers’ house on a borrowed tape recorder, unfold like a game of truth or dare. Their constant motif is an unceasing return, a steady heartbeat they mutually commit to, knowing when one wanders off, the other will either follow or call them home. Here, flushness overrides order, each note saunters by like initials etched into tree bark: a devotion both passing and eternal.

After playing in Perfume Genius and Hand Habits, Duffy and Uhlmann embarked on their first record together, Doubles. A testament to the wordlessness of their musical intimacy, Duffy and Uhlmann take up the guitar in order to make an imprint of the slowness and presence of their improvisational practice. They weave together a sonic meditation, embracing intuition and relying on trust. Side A of Doubles consists of two guitars in conversation: looping feelings, braiding sound, blowing kisses, and finishing each other’s sentences. Less of an echo and more of nod, the songs unfold in radical, mutual witnessing. Refraining from any over dubs or edits on the final tracks, the immediacy of the compositions makes it feel like we are in the room with them.

Where Side A establishes a glistening intimacy, Side B takes on the tone of sonic scavenging, incorporating sounds from their past year of touring together. Taking the self as source material, the second half of the album dismantles the presence of Side A in order to incorporate the tactility of memory. Using samples from the road and from the world, these compositions are a scrap book of glued and chopped up sound. When I listen, I feel the crunchiness and static of being-in-the-world as it is mediated by time. Without us knowing, our devices capture sounds we may have missed the first time around. And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.

True presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. All.

The intimacy in these songs dances like shadows - providing relief even as they slip away. I want to put this music in my pocket and hold it in my palm like a worn down stone. Duffy and Uhlmann give us a sweet rawness that reverberates even once the song is over, hitting the body the very moment words fall away. – Rosie Stockton
 

Please correct the information below.

Select ticket quantity.

Select Tickets

All Ages
limit 6 per person
GA Standing
$40.04 ($30.00 + $10.04 fees)
ONSITE PARKING
This is an onsite parking pass - THIS IS NOT A TICKET - Onsite parking opens at 6PM - EVERYONE IN VEHICLE MUST HAVE A TICKET
$12.35 ($10.00 + $2.35 fees)

Delivery Method

eTickets