We’re thrilled to partner with Secretly Distribution for a special Independents Day celebration at Grimey’s on Wednesday, September 10th from noon until 5:30 featuring performances from Emily Hines, Case Oats, Palmyra, Florry, Wednesday (solo) and Fust! This is a free and all ages affair, first come, first served. We’ll post additional info soon, so stay tuned for updates here!
Independents Day
12PM - Emily Hines (Keeled Scales)
“Raised on a small farm where the Midwest meets the South, Emily Hines crafts earnest indie rock with a twangy, unruly air. These Days, Emily’s first album for Keeled Scales and her initial offering to a wider world, features nine songs thoughtfully recorded to cassette from a tiny house in South Nashville.”
1PM - Case Oats (Merge Records)
“In 2018, Case Oats was something of a nebulous idea. Its bandleader, Casey Gomez Walker, had played in bands before, and Case Oats had a self-released single to its name, but it wasn’t a band until an out-of-town friend asked her if Case Oats could headline a show in Chicago. She bluffed— yes, she had a band, yes, they were ready to play a show—and buckled down to make good. “It was a bit delusional of me,” she says, “but there’s something to be said about being a bit delusional.” On August 22, 2025, Merge Records released the payoff: Last Missouri Exit, the debut album by Case Oats.”
2PM - Palmyra (Oh Boy)
“Palmyra straddles at least two musical worlds. They are, on one hand, a band from the South that plays traditional instruments and indeed once lived in the old-time locus of Floyd, Virginia. Comparisons to and a kinship with The Avett Brothers and even Old Crow Medicine Show are inevitable. On the other hand, Palmyra writes about suicide, gender dysphoria and identity, and an epidemic of financial survival in songs that flirt with soul, post-rock, and even emo; the South, too, is the place of My Morning Jacket, Band of Horses, Cat Power, and, now, Palmyra.
Where they fall on this divide doesn’t really matter. The 10 tracks of Restless are compulsive and immediate, true-to-life testimonials from three very good songwriters figuring out existence in real-time in verse. These are songs to be sung or shouted out loud, to be coveted as anthems as we try to make our own way from whatever shape we’re in toward whatever shape we hope to become.”
3PM - Florry (Dear Life)
“The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music.
Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Liz Phair and Silver Jews bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine”.
4PM - Wednesday solo (Dead Oceans)
“Bleeds is a reminder that Hartzman and her bandmates are exclusively interested in chasing glory through games they invent themselves—games with rulebooks you can only decipher late at night, in that freaky and perfect place between sleep and awake where you’re not sure if you’re dreaming or remembering something that already happened. In this arena of their imagination, the scoreboard’s a neon bar sign, the commentator’s a cicada, the mascot is an eighty-year-old Pepsi addict with no teeth. Wednesday is always World Champion, and the award hanging from Karly Hartzman’s neck isn’t an Olympic gold but rather a heart-shaped pendant—a clunky, rust-stained heirloom with countless funny and fucked-up stories locked safely inside.”
5PM - Fust (Dear Life)
“What does it mean to be from the South today? To try to reconcile the struggles and possibilities of Southern experience through songs, through words? Is it worth it? Are there secrets still worth revealing?
Fust––the lyrical powerhouse Southern rock band from Durham, North Carolina––have made these questions the heart of their work and, more than ever before, it is the drama at play on their new record Big Ugly. Fust joins a long tradition of artists that have tried to present life in the dirty South, from the lived-in short stories of Breece and Ann Pancake to the traditional record-keeping of John Jacob Niles to the southern rock historicism of Drive-By Truckers. For these artists and for Fust, making sense of the South is a necessity because history is what hurts and in the words of Hemingway, our call is to ‘write hard and clear, about what hurts.’”