“Slathered in reverb and sent hurtling through a dizzying maze of guitar effects, Just Mustard document succumbing to the inertia of a panic attack with a biting urgency.” Ireland’s Just Mustard return with an intimate New York show on Tuesday, September 9th at National Sawdust.

Nina Keith and Rachika Nayar were drawn to one another like mirror images or two sisters reuniting after a lifetime of separation. Four years ago, the artists met in Brooklyn's two-block–by–two-block Maria Hernandez Park after fan-girling each other’s music online. Dishing about messy post-lockdown long-distance lesbianism, heartfelt investments in Buddhist and Hindu philosophies, and a shared high-school love of the Eternal Sunshine OST, the two found their surface similarities gesturing toward a deeper shared existential worldview. Presented in partnership with AdHoc.

“The hyphen-rich vocalist-percussionist-speaker-producer-activist’s vibe isn’t so much “singer-songwriter” as “icon of empowerment.” Her frenetic odes to feminism, fluidity and freedom — carried off with the assistance of an entirely female or nonbinary band — mash together fragments of electro-pop, trap, Afrobeat and R&B, carried off with endless swagger.” – NPR

Devendra Banhart (b. 1980, Houston, Texas) lives and works in Los Angeles. An internationally renowned musician considered a pioneer of the “freak folk” and “New Weird America” movements, Banhart has toured, performed, and collaborated with Vashti Bunyan, Yoko Ono, Os Mutantes, the Swans, ANOHNI, Caetano Veloso, and Beck, amongst many others. His musical work has always existed symbiotically alongside his pursuits in the other fine arts.

Devendra Banhart (b. 1980, Houston, Texas) lives and works in Los Angeles. An internationally renowned musician considered a pioneer of the “freak folk” and “New Weird America” movements, Banhart has toured, performed, and collaborated with Vashti Bunyan, Yoko Ono, Os Mutantes, the Swans, ANOHNI, Caetano Veloso, and Beck, amongst many others. His musical work has always existed symbiotically alongside his pursuits in the other fine arts.

When guitarist and composer Yasmin Williams sits down to compose music, she doesn’t scour her subconscious for unheard melodies or clever chord progressions. Instead, she goes granular—fixating on a single note. She’ll play it over and over, sustaining it, varying the attack or the release to change its essence, eventually adding notes to form chords. In addition to the crisp fingerpicked guitar that helped establish her as a fast-rising star of instrumental folk, Williams plays kora, harp guitar, banjo, and electric guitar and bass—all with authority.