ONSITE PARKING OPENS 1 HOUR BEFORE DOORS
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.
Thu Apr 30 2026
8:30 PM (Doors 8:00 PM)
All Ages
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Julia Cumming
- On sale soon
- Fri Feb 20 2026
- 10:00AM PST
-
Julia Cumming
Alternative
Drop the needle on Julia Cumming’s solo debut Julia and the very first notes you hear are her voice. A clear, and unadorned declaration of stepping out on her own. Within seconds, she sings her agency into being, fingers meet the piano keys, striking just the sparest of chords.
I sing these words for me
To hear the sound
To let them ring
To drown you out
As the hi-hat kicks in, Julia sweetly recites a litany of ways that she has been told she’s too much or not enough, wrapped in halcyon production that has echoes of Burt Bacharach and Dionne Warwick. Album opener, and debut single “My Life” packs a punch in a warm embrace. A belted-out proclamation of liberation - doubters, misogynists, and the industry be damned. Not only is she not too much, but she has always been enough.This thesis statement of a song was the key that unlocked a creative door that New York City-born multi-instrumentalist, singer, songwriter, and Sunflower Bean’s bassist, Julia Cumming, had been waiting for since her teens.
In fact, it has taken nearly two decades, two bands, four EP’s, four albums, three labels, and relentless touring for Julia to finally get to the pivotal moment at her piano when “My Life” set the wheels in motion to writing and recording her new album. As touring with Sunflower Bean to promote their third album Headful of Sugar drew to a close in 2023, Julia had compiled enough songs to begin the process of figuring out what to do with them. She flew to Los Angeles without much of a plan, only the desire to try out working with an assortment of producers to bring the songs to life. The creative partner she had hoped to find surfaced when she reached out to bassist, guitarist, and producer, Brian Robert Jones (Vampire Weekend, Paramore, Hayley Williams, MUNA, Remi Wolf) who she had met at a mutual friend’s birthday party. Within two days, everything clicked into place. Over the next two years, the album coalesced, with Julia carving out time to sit alone at her piano for hours, and once a month, taking the songs from New York to LA to spend three or four days in Brian’s living room, fleshing out her ideas. The trust that began to build track by track was not only musically gratifying for Julia, but also profoundly healing. “As someone who had such a deep-seated belief about myself that what I wanted to pursue was inherently lame and dorky and boring, this was so positive and thrilling to me. Nick (Kivlen, of Sunflower Bean) called this journey for me my ‘second artistic puberty’.”
Indeed, for the sonic palette of these songs, Julia gave herself permission to lean into some of her most formative influences. “My dad is a Burt Bacharach historian and I wanted the recordings themselves to be coming from a love of recorded music and the history of classic American songwriting. So Burt Bacharach, Carol King, Neil Diamond, Joni Mitchell, Carly Simon and, my one-and-only-and-always, Brian Wilson, were the people that kept showing up in the songs that I was writing, and I allowed myself to be inspired by them.”
To bring the album to completion, Julia doubled down on her autonomy and self-funded the recording over a six week period in 2024 in Los Angeles, enlisting producer and engineer Chris Coady (Yeah Yeah Yeahs, TV On The Radio, Grizzly Bear, Beach House), and an ace studio
band including Garrett Ray (Olivia Rodrigo, SIA) on drums, Roger Joseph Manning Jr. (Beck) on keys, Nick Zinner (Yeah Yeah Yeahs) contributed guitar to two tracks, Andrew Lappin (Lucy Dacus, L’Rain) on percussion and Brian Robert Jones handled the rest. By the end of the recording process, Partisan Records came on board as the label. Julia Cumming’s debut had become a reality, completely on her own terms.
Now as this transformative three year journey of self-actualization and dream fulfillment moves to the rearview, and Julia readies herself to unveil the fruits of her labor, she reflects on what it means to her, and what she hopes it will mean to her fans:
“This record is a coming out of the dork, a coming out of this truly nerdy person that I've always been, that has been obscured through how I related to the media, and who I thought I was supposed to be. I think that all of us - men and women, everyone - we constantly try to play into these roles that other people put on us or that we put on ourselves in the hopes of being enough. To use this music as a way out of that story is my dream. One of my main goals with this record was for it to be fun - an anti-cool album. So this album is a joyous space for the misfits, and in particular, an album for the girls in middle school who don't fit in. I want this record to be a place where those girls can find solace. It's an album that lets them know that even if they don't fit in in the ways that they think they're supposed to, that they are completely enough.”
- On sale soon
- Fri Feb 20 2026
- 10:00AM PST
All Ages
ONSITE PARKING OPENS 1 HOUR BEFORE DOORS
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.
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.
Julia Cumming
Alternative
Drop the needle on Julia Cumming’s solo debut Julia and the very first notes you hear are her voice. A clear, and unadorned declaration of stepping out on her own. Within seconds, she sings her agency into being, fingers meet the piano keys, striking just the sparest of chords.
I sing these words for me
To hear the sound
To let them ring
To drown you out
As the hi-hat kicks in, Julia sweetly recites a litany of ways that she has been told she’s too much or not enough, wrapped in halcyon production that has echoes of Burt Bacharach and Dionne Warwick. Album opener, and debut single “My Life” packs a punch in a warm embrace. A belted-out proclamation of liberation - doubters, misogynists, and the industry be damned. Not only is she not too much, but she has always been enough.This thesis statement of a song was the key that unlocked a creative door that New York City-born multi-instrumentalist, singer, songwriter, and Sunflower Bean’s bassist, Julia Cumming, had been waiting for since her teens.
In fact, it has taken nearly two decades, two bands, four EP’s, four albums, three labels, and relentless touring for Julia to finally get to the pivotal moment at her piano when “My Life” set the wheels in motion to writing and recording her new album. As touring with Sunflower Bean to promote their third album Headful of Sugar drew to a close in 2023, Julia had compiled enough songs to begin the process of figuring out what to do with them. She flew to Los Angeles without much of a plan, only the desire to try out working with an assortment of producers to bring the songs to life. The creative partner she had hoped to find surfaced when she reached out to bassist, guitarist, and producer, Brian Robert Jones (Vampire Weekend, Paramore, Hayley Williams, MUNA, Remi Wolf) who she had met at a mutual friend’s birthday party. Within two days, everything clicked into place. Over the next two years, the album coalesced, with Julia carving out time to sit alone at her piano for hours, and once a month, taking the songs from New York to LA to spend three or four days in Brian’s living room, fleshing out her ideas. The trust that began to build track by track was not only musically gratifying for Julia, but also profoundly healing. “As someone who had such a deep-seated belief about myself that what I wanted to pursue was inherently lame and dorky and boring, this was so positive and thrilling to me. Nick (Kivlen, of Sunflower Bean) called this journey for me my ‘second artistic puberty’.”
Indeed, for the sonic palette of these songs, Julia gave herself permission to lean into some of her most formative influences. “My dad is a Burt Bacharach historian and I wanted the recordings themselves to be coming from a love of recorded music and the history of classic American songwriting. So Burt Bacharach, Carol King, Neil Diamond, Joni Mitchell, Carly Simon and, my one-and-only-and-always, Brian Wilson, were the people that kept showing up in the songs that I was writing, and I allowed myself to be inspired by them.”
To bring the album to completion, Julia doubled down on her autonomy and self-funded the recording over a six week period in 2024 in Los Angeles, enlisting producer and engineer Chris Coady (Yeah Yeah Yeahs, TV On The Radio, Grizzly Bear, Beach House), and an ace studio
band including Garrett Ray (Olivia Rodrigo, SIA) on drums, Roger Joseph Manning Jr. (Beck) on keys, Nick Zinner (Yeah Yeah Yeahs) contributed guitar to two tracks, Andrew Lappin (Lucy Dacus, L’Rain) on percussion and Brian Robert Jones handled the rest. By the end of the recording process, Partisan Records came on board as the label. Julia Cumming’s debut had become a reality, completely on her own terms.
Now as this transformative three year journey of self-actualization and dream fulfillment moves to the rearview, and Julia readies herself to unveil the fruits of her labor, she reflects on what it means to her, and what she hopes it will mean to her fans:
“This record is a coming out of the dork, a coming out of this truly nerdy person that I've always been, that has been obscured through how I related to the media, and who I thought I was supposed to be. I think that all of us - men and women, everyone - we constantly try to play into these roles that other people put on us or that we put on ourselves in the hopes of being enough. To use this music as a way out of that story is my dream. One of my main goals with this record was for it to be fun - an anti-cool album. So this album is a joyous space for the misfits, and in particular, an album for the girls in middle school who don't fit in. I want this record to be a place where those girls can find solace. It's an album that lets them know that even if they don't fit in in the ways that they think they're supposed to, that they are completely enough.”
I sing these words for me
To hear the sound
To let them ring
To drown you out
As the hi-hat kicks in, Julia sweetly recites a litany of ways that she has been told she’s too much or not enough, wrapped in halcyon production that has echoes of Burt Bacharach and Dionne Warwick. Album opener, and debut single “My Life” packs a punch in a warm embrace. A belted-out proclamation of liberation - doubters, misogynists, and the industry be damned. Not only is she not too much, but she has always been enough.This thesis statement of a song was the key that unlocked a creative door that New York City-born multi-instrumentalist, singer, songwriter, and Sunflower Bean’s bassist, Julia Cumming, had been waiting for since her teens.
In fact, it has taken nearly two decades, two bands, four EP’s, four albums, three labels, and relentless touring for Julia to finally get to the pivotal moment at her piano when “My Life” set the wheels in motion to writing and recording her new album. As touring with Sunflower Bean to promote their third album Headful of Sugar drew to a close in 2023, Julia had compiled enough songs to begin the process of figuring out what to do with them. She flew to Los Angeles without much of a plan, only the desire to try out working with an assortment of producers to bring the songs to life. The creative partner she had hoped to find surfaced when she reached out to bassist, guitarist, and producer, Brian Robert Jones (Vampire Weekend, Paramore, Hayley Williams, MUNA, Remi Wolf) who she had met at a mutual friend’s birthday party. Within two days, everything clicked into place. Over the next two years, the album coalesced, with Julia carving out time to sit alone at her piano for hours, and once a month, taking the songs from New York to LA to spend three or four days in Brian’s living room, fleshing out her ideas. The trust that began to build track by track was not only musically gratifying for Julia, but also profoundly healing. “As someone who had such a deep-seated belief about myself that what I wanted to pursue was inherently lame and dorky and boring, this was so positive and thrilling to me. Nick (Kivlen, of Sunflower Bean) called this journey for me my ‘second artistic puberty’.”
Indeed, for the sonic palette of these songs, Julia gave herself permission to lean into some of her most formative influences. “My dad is a Burt Bacharach historian and I wanted the recordings themselves to be coming from a love of recorded music and the history of classic American songwriting. So Burt Bacharach, Carol King, Neil Diamond, Joni Mitchell, Carly Simon and, my one-and-only-and-always, Brian Wilson, were the people that kept showing up in the songs that I was writing, and I allowed myself to be inspired by them.”
To bring the album to completion, Julia doubled down on her autonomy and self-funded the recording over a six week period in 2024 in Los Angeles, enlisting producer and engineer Chris Coady (Yeah Yeah Yeahs, TV On The Radio, Grizzly Bear, Beach House), and an ace studio
band including Garrett Ray (Olivia Rodrigo, SIA) on drums, Roger Joseph Manning Jr. (Beck) on keys, Nick Zinner (Yeah Yeah Yeahs) contributed guitar to two tracks, Andrew Lappin (Lucy Dacus, L’Rain) on percussion and Brian Robert Jones handled the rest. By the end of the recording process, Partisan Records came on board as the label. Julia Cumming’s debut had become a reality, completely on her own terms.
Now as this transformative three year journey of self-actualization and dream fulfillment moves to the rearview, and Julia readies herself to unveil the fruits of her labor, she reflects on what it means to her, and what she hopes it will mean to her fans:
“This record is a coming out of the dork, a coming out of this truly nerdy person that I've always been, that has been obscured through how I related to the media, and who I thought I was supposed to be. I think that all of us - men and women, everyone - we constantly try to play into these roles that other people put on us or that we put on ourselves in the hopes of being enough. To use this music as a way out of that story is my dream. One of my main goals with this record was for it to be fun - an anti-cool album. So this album is a joyous space for the misfits, and in particular, an album for the girls in middle school who don't fit in. I want this record to be a place where those girls can find solace. It's an album that lets them know that even if they don't fit in in the ways that they think they're supposed to, that they are completely enough.”
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