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Event Calendar

Season Finale: MTT and Yuja Wang

New World Center

Relish in the last glimpse of this season’s Fellows alongside MTT and superstar pianist Yuja Wang. Fall head first into the impassioned romance and wondrous opium-fueled dreams of Hector Berlioz’s legendary Symphonie fantastique. From its whirlwind waltzes to demonic hallucinations, hear why MTT calls this unabashed melodrama an “epic orchestral sonic spectacular!” Witness the world premiere of a new work by Bang on a Can co-founder Julia Wolfe before Yuja offers a stunning performance of Sergei Prokofiev’s wildly virtuosic Fifth Concerto. This will be a formidable finale to an epic season!

Acid Mothers Temple at Gramps

Gramps Bar

Endoxa Booking and Breakeven Booking Present:

Acid Mothers Temple
Yamantaka // Sonic Titan

Season Finale: MTT and Yuja Wang

New World Center

Relish in the last glimpse of this season’s Fellows alongside MTT and superstar pianist Yuja Wang. Fall head first into the impassioned romance and wondrous opium-fueled dreams of Hector Berlioz’s legendary Symphonie fantastique. From its whirlwind waltzes to demonic hallucinations, hear why MTT calls this unabashed melodrama an “epic orchestral sonic spectacular!” Witness the world premiere of a new work by Bang on a Can co-founder Julia Wolfe before Yuja offers a stunning performance of Sergei Prokofiev’s wildly virtuosic Fifth Concerto. This will be a formidable finale to an epic season!


Fillmore Miami Beach

Kicking off the Mycelia World Tour, her first U.S. tour in nine years, Imogen Heap, comes to the Fillmore Miami Beach at the Jackie Gleason Theater Sunday, April 28th, 2019 / 8PM. Tickets go on sale Friday, December 14th / 10AM.
Imogen Heap has announced her first North American tour in nine years. The Mycelia World Tour is a tour behind the launch of Mycelia’s “Creative Passport,” a platform that promotes artist-led, fair and sustainable operating practices for musicians. The nine-city North American leg will feature live performances by Frou FrouImogen Heap and composer/producer Guy Sigsworth’s electronic group—marking their first time playing together since 2003. The trek will also include music maker workshops, family coding workshops, and talks at industry conferences with Imogendiscussing how technology is shaping the future of music. “Through Mycelia and its ‘Creative Passport,’ as music makers we now have no excuse but to put our best foot forward and become open for business, decentralizing the ecosystem so that it will ultimately benefit everyone,” Imogen said. Mycelia, a nonprofit founded by Imogen, is a research and development hub that aims to build ethical, technical, and commercial standards for those in the music industry through fairer payments, enriching the marketplace, and more.
General Admission tickets for Imogen Heap Sunday, April 28th, 2019 / 8PM are $30.00 in advance and $35.00 day of show. A limited number of Special Reserved Seats are available for $45.00.  All tickets are on sale Friday, December 14th / 10AM at LiveNation.com or charge by phone 800-745-3000 and at the Fillmore Box Office during normal business hours (Mon. – Fri., 11AM – 6PM and during show days).

Chicano Batman Chicano Batman

Hollywood ArtsPark at Young Circle

They came out of L.A., four young men in vintage formalwear, playing songs that blended Brazilian Tropicalía with early ’70s psychedelic soul and the romantic pop of bands like Los Ángeles Negros. It was an immediately addictive sonic brew, and their reputation grew fast. Since forming in 2008, Chicano Batman have released two full-length albums—a self-titled 2009 debut, and 2014’s Cycles Of Existential Rhyme—and two EPs. The band has played Coachella, and toured with Alabama Shakes and Jack White, among others. Now, they’re making their boldest statement yet with Freedom Is Free, their third album and ATO Records debut.
Frontman Bardo Martinez met bassist Eduardo Arenas in 2008, and they quickly found common ground in the work of Caetano Veloso and other Tropicalía performers, as well as the kind of vintage soul and pop heard on “the albums our parents have in their closets.” They recruited drummer Gabriel Villa and made their first album as a trio; guitarist Carlos Arévalo joined the band in 2011 and they released The Joven Navegante EP the following year.
Outside the studio, Chicano Batman have built a stellar reputation through heavy touring across the country. They’ve played major festivals like Coachella, Bonnaroo, Outside Lands, and opened for Jack White, Alabama Shakes, and Portugal. The Man. The past two years have demonstrated a breakout year, selling out just about every show across the US as a headliner in support of their most recent record.


Fillmore Miami Beach

Pop Artist, singer, songwriter, producer Kali Uchis along with her sometime collaborator the 2019 Grammy nominated Jorja Smith bringThe Kali & Jorja Tourtothe Fillmore Miami Beach at the Jackie Gleason Theater Wednesday, May 8th, 2019 / 8PM. Tickets go on saleFriday, February 15th/ 10AM.
The stylistic range of left-field pop artist Kali Uchisis reflected in the variety of her collaborators — an extensive genre-crossing list that includes Tyler, the CreatorGorillazDaniel CaesarJuanes, and BadBadNotGood. A singer, songwriter, and producer, as well as a video director, Uchis truly arrived on her own with the self-releasedPor Vidaan EP that led to a deal with Virgin EMI. By the time Uchis released her lively debut full-length hitIsolation, she had already been nominated for Grammy awards through her featured appearances on Caesar’s “Get You”and Juanes’ “El Ratico.”Isolationdebuted at number 32 on the Billboard 200 and entered the R&B/hip-hop chart at number four. WithIsolation, out to massive critical acclaim,Uchisstakes a very convincing claim at being the hot new crossover act to watch. Hop scotching effortlessly between myriad genres, her mellifluous vocals shifting from sassy to angry, sultry to stinging, it is the sound of a musician coming fully, and gloriously, into her own.
With a well-deserved 2019 Grammy nomination for Best New Artist to add to her ever expanding list of career achievements, 21 year-old singer songwriter Jorja Smith closed out a stellar 2018. Over the past year Smith received the Brit Critic’s Choice Award, collaborated with the likes of StormzyDrakeKali Uchis and Maverick Sabre and released her critically acclaimed debut albumLost & Found. Tying together R&B, soul and trip hop with her distinctive dulcet-toned vocals, the talented songstress examines the injustices, imbalances and tragic beauty of the world around her with intelligent lyrics and emotional performances.
General Admission tickets for Kali Uchis / Jorja Smith, The Kali & Jorja Tour, Wednesday, May 8th, 2019 / 8PM are $49.50 in advance and $52.50 day of show.  A limited number of Special Reserved are available starting at $55.00.  All tickets are on sale Friday, February 15th / 10AM atLiveNation.com or charge by phone 800-745-3000 and at the Fillmore Box Office during normal business hours (Mon. – Fri., 11AM – 6PM and during show days).

Yoga Mornings at the New World Center

New World Center

Yoga Mornings at the New World Center, presented by Jackson Health System, is a monthly outdoor community vinyasa yoga series at SoundScape Park, in front of the New World Center. Suitable for all levels. No ticket required. Bring yourself, a yoga mat, a friend, your favorite juice, or anything else you’d like to help you get the most out of this experience. NWS Yoga Mornings take place rain or shine! Enjoy yoga on the lawn of SoundScape Park or, if raining, in the New World Center’s SunTrust Pavilion.

Whitechapel With Spite, Uncured, Buried Above Ground, Dying Fetus, Revocation, Fallujah

Revolution Live

Since their 2007 debut, The Somatic Defilement, Whitechapel‘s output has been mired in darkness, but they have never inhabited blacker territory than where we find them on 7th full-length, The Valley. “Lyrically, emotionally, melody wise, there are not many ‘happy’ sounding parts on this record,” states guitarist Alex Wade. “Our last album, Mark of the Blade (2016) did not sound exactly ‘happy’ either, but the majority of those songs did not have much emotion or vibe behind them, they were just straightforward metal songs. These songs have a darker, more melancholic presentation to them.” With vocalist Phil Bozeman having never held back when it comes to speaking his mind, and delivering lyrics as uncompromising as his decimating vocals, this time around he gets even more personal, and in looking to the hardships of his childhood the music needed to fit the tone. “It’s all about me as a child, and some of it is me looking back on that time from the perspective of now,” he explains. “Also, it’s my interpretation of my mom’s struggles and her different personalities. She had a journal that contained very disturbing and sometimes evil writings, and some of her quotes and a lot of that journal is in the lyrics.

With Wade admitting that due to internal issues during the making of Mark of the Blade the result was not their best work, it remains a record he is proud of, with the band confidently venturing into new sonic territory, and it was still a huge hit with their fans. But for The Valley, Wade, Bozeman, bassist Gabe Crisp and guitarists Zach Householder and Ben Savage were all “in a much better place mentally, and the music reflects that“. As with all of their releases there was no plan in place ahead of time, preferring to let the music develop organically, and this time they were assisted by technical wizard Navene Koperweis – formerly of Animals As Leaders and Animosity – behind the drum kit. “I really love what Navene brought to the table for us with his drumming. It’s the perfect mixture of hard hitting groove that sits in the pocket and the speed/technicality you are used to hearing in our music. He’s an amazing musician and nailed all of the drum tracks in 5 days, which really impressed me,” Wade enthuses. Anyone throwing The Valley on for the first time will immediately recognize it as the work of Whitechapel, yet as has been the case with each release there is also evolution in play. “Sound-wise, it’s all over the place,” Bozeman states plainly. “There’s aggression, and then you’re hit with ominous and emotional guitar riffs. It’s mean, but then transfers to soft and inviting. It’s a whirlwind of emotions throughout.” As on the record’s predecessor, Bozeman again brings some clean vocals into the mix, which are only ever implemented for the betterment of the individual song, and “Hickory Creek” is Whitechapel‘s first song to exclusively feature singing. “With the instrumentation still sounding dark and heavy I think Phil’s decision to sing the whole track provides a nice complementing balance,” says Wade. “His singing never sounds awkward or forced, it always just sounds like what is supposed to go there.

The valley of the title relates to the part of Hardin Valley, west of Knoxville, Tennessee, where Bozeman grew up. Set against this backdrop, he approaches his subject matter unflinchingly, building upon everything that came before, making it clear that he has survived that which he was forced to endure and is not afraid to confront it. “Phil has been upfront in his lyrics in the past about hardships he endured in his life as a child, and I believe with this record we tried to paint a better picture of that,” says Wade, who alongside his bandmates stands 100% behind everything their vocalist has to say. “I feel our music is Phil’s release from his past, being able to get it out and speak about it, and hopefully anyone who hears it that may have gone through similar experiences can find some release in it as well.” To track this powerful collection, the band once again teamed up with producer Mark Lewis (Cannibal Corpse, The Black Dahlia Murder) whose commitment to creating the best possible record reflects that of the musicians involved. “Mark has done the last three records so we are all aware of each other’s work ethic from the start. I was pressed for time on lyrics but I always like to write when I’m pressured. Makes it easier for me somehow,” Bozeman admits. Recorded in the home studios of Wade and Householder, with drums lain down at Warner Brothers Studio in Nashville, TN, the process was very comfortable for all concerned, taking longer than usual due to the band interrupting sessions to tour, but not to their detriment. “The sessions were fun to me overall but very much down to business,” Wade says. “Not really much partying going on during tracking, it seemed everyone was there to do their job, and because they were pretty spaced out it did not seem like we were too rushed or stressed.

The Knoxville metal titans will of course be hitting the road hard again now that they have a new collection of songs under their collective belt. For Wade, every record the band drops is an important stepping stone as they continue to build Whitechapel‘s legacy, and The Valley is no exception. “We have expanded on the sound we created on Mark Of The Blade and created a more cohesive work of art overall. I believe our fans will be able to hear and appreciate the overall mood and vibe that we created with this record, which applies to every aspect of it, including the artwork. Moreover, we are stronger now as a band than we have been in the past few years, and I hope that we are able to look back on this album and see it as a major transitioning period of our career, in a positive way.” Bozeman concurs, but makes it very much clear that ultimately, however anyone else reacts to it, The Valley is absolutely the record Whitechapel wanted to make, with no exceptions or limitations. “We write what we want, and no matter if it’s music, architecture, drawing or whatever, you should be able to create whatever you want. We make music for ourselves first and foremost, and if fans like it, great. If they hate it, great. That’s the beauty of art. You do it for yourself and if you’re lucky, make a living off of it.

The Drums With Tanukichan

Revolution Live

On Brutalism, the fifth LP from The Drums, a lot is different. It is quite possibly the best collection of songs in the band’s ten-year career. The album is defined by growth, transformation and questions, but It doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt.
In 2017, The Drums put out its first record as a solo project. Abysmal Thoughts belonged to Jonny Pierce alone. It discussed his painful divorce. Since, he has returned to New York and now lives between there and LA. “I felt my work in LA was done. I was exhausted, depleted and sabotaging myself, partying so much but in reality running away from pain. It was a downward spiral.” He wanted to deal with unresolved facets of his relationship with himself so he did therapy. “It was do or die,” he says. “Figuring out what it is that makes me happy, and acknowledging that I deal with depression.” He looks at Brutalism as an extension of self-care. “In order to take care of yourself you have to ask questions. Those are the things I needed to confront. It’s interesting talking about the past, dealing with things that are long overdue. I’m delivering something unsure and unclear.”
Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision.
His intentions were rooted in pop, as they’ve always been. Back in The Drums’ previous iterations, however, the pressure was on Pierce to maintain the innocent and nostalgic sound of this surf-pop indie band and it didn’t allow him to explore sex, drug use, darker emotions or how he felt currently. Abysmal Thoughts was the first occasion he had chance to do that. Lyrically Brutalism is another giant step in that direction. It’s much more cut-throat. “I think there’s a parental advisory sticker on the cover!” laughs Pierce. “I didn’t have the courage to stand up for what I wanted before. I felt I had to keep things whimsical and that’s not who I am. It feels empty.” Sonically he had been devoid of external influences, so afraid of being accused of losing the purism of The Drums’ sound. Now he’s rediscovering music: everything from SOPHIE to 90s band Whale. They inspired the loop-based, breakbeat drums on ‘Kiss It Away’ and ‘Body Chemistry’. “I used to think our songs sounded like they were held together by scotch tape. These are more bulletproof.”

Yann Tiersen – Solo in Concert

Olympia Theater at Gusman Center for the Performing Arts

Artist, composer, performer, Yann Tiersenn may be known for his playful, easy melancholy soundtrack to “Amélie from Montmartre” – but fans and followers know his music styles run the gamut from punky thrashing guitar to notable collaborations with hipster icons like Jane Birkin and the Cocteau Twins’ Elizabeth Fraser.

Along the way Yann Tiersen has turned out acclaimed studio albums such as Les Retrouvailles, Dust Lane, Skyline and EUSA while establishing himself as a top performer in concert halls around the world.

This winter, Yann Tiersen drops his latest album – ALL. Releasing, February 15 2019 – ALL – is the first album to be recorded at Yann Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years.

The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

Reel Big Fish & Bowling For Soup With Nerf Herder

Revolution Live

This summer, ska-punk and pop-punk worlds will collide on the just announced Reel Big Fish and Bowling For Soup co-headline tour. Surprisingly, the trek (which kicks off on June 19th), marks the first time the long-running bands have toured together. Joining them is special guest Nerf Herder.

Bowling For Soup’s Jaret Reddick says, “There are those bands with which the fans tell you “you should tour with them’. Often times, you make friends with those bands, and you always say to one another, ‘we GOTTA tour together.’ Well, both those things have been happening for years, and this summer, while on the final cross country Vans Warped Tour, Aaron from Reel Big Fish and I decided we were going to make it happen! And we did! I could NOT be more excited for this summer! Two of the most fun bands on the planet together at last! People will have sore faces from smiling after this one!”

In trademark fashion, Reel Big Fish frontman Aaron Barrett adds, “We’re still doing that tour? I thought I pulled the plug on that terrible idea a long time ago!“

As one of the key mid-90’s ska-punk bands to emerge out of Southern California’s third wave ska scene, along with acts like No Doubt and Sublime, Reel Big Fish’s popularity hasn’t faltered over the years. Distinguished by their hyperkinetic stage shows, sarcastic humor, ironic covers of new wave pop songs, and metallic shards of ska, the group continues to tour the world playing shows to a hardcore fanbase that’s as devoted as ever. The band’s 9th studio LP, ‘Life Sucks…Let’s Dance’ was released in late- 2018 and has garnered some of the best reviews of their lengthy career.

2019 marks the 25th anniversary of Bowling For Soup’s long-celebrated career as a band. Over the years, the Dallas bred fun-loving, pioneers of pop-punk have released 10 studio albums, that generated mainstream success with hit singles like “1985,” “Almost” and “Girl All The Bad Guys Want,” and countless tours performing for millions of fans around the world. Recently, Bowling For Soup released a live album and DVD dubbed ‘Older, Fatter, Still The Greatest Ever – Live From Brixton,’ that perfectly captured the band’s relentless spirit and acclaimed cultural significance in the pop-punk stratosphere.

New Found Glory With Real Friends, The Early November, & Doll Skin

Revolution Live

Please Note: This show is at Revolution Live Outdoors (the America’s Backyard stage). All tickets are General Admission / standing room only. 

Hailing from Coral Springs, Florida, punk-pop band New Found Glory were formed in mid-1997 by vocalist Jordan Pundik, bassist Ian Grushka, drummer Joe Moreno (replaced by longtime drummer Cyrus Bolooki after the band’s first release), and guitarists Chad Gilbert (previously the vocalist for Shai Hulud) and Steve Klein. Having recently graduated from high school, the bandmates wasted little time amassing a cult following, eventually rising to the upper tier of punk-pop music alongside Good Charlotte, Saves the Day, and other Warped Tour-affiliated bands.

Renowned for their energetic live shows, A New Found Glory toured up and down the East Coast in the late ’90s, selling out the entire pressing of their 1997 debut EP, It’s All About the Girls, along the way. (The EP was released by Fiddler Records, which later reissued Girls with new cover art in 2003.) The full-length debut effort Nothing Gold Can Stay followed in 1999 on Drive-Thru Records, and the album was reissued later that year when A New Found Glory signed a major-label contract with MCA. Another EP, 2000’s From the Screen to Your Stereo, found the boys tackling a number of cover songs; the disc also paved the way for the release of the band’s first gold-selling album, the self-titled New Found Glory, which appeared later that year. The latter album marked the official debut of the band’s new moniker, which dropped the indefinite article A from their original name. A high-profile tour with blink-182, an opening slot on the Warped Tour, and an appearance in the teen flick American Pie 2 helped increase New Found Glory’s exposure, and they stepped back into the studio at the end of 2001 to work on a follow-up record.

The results of those recording sessions were released in the summer of 2002 as Sticks and Stones. Propelled by the hit single “My Friends Over You,” New Found Glory snagged a headlining spot for the 2002 Warped Tour and watched their album climb to gold certification. After the tour and its resulting hype, the band then reentered the studio with a newfound restlessness. The result, issued in May 2004, was Catalyst, which found their sugary punk-pop steeped in new influences ranging from hardcore to thrash to new wave. The concert DVD This Disaster: Live in London appeared later that year, documenting the band’s strength as a live act.

Catalyst peaked at number three on Billboard’s Top 200 and eventually went gold, propelled in part by the success of “All Downhill from Here.” Hooking up with producer Thom Panunzio (Ozzy Osbourne, Tom Petty), New Found Glory released their mature fifth full-length, Coming Home, in September 2006. As before, they immediately hit the road in support of the album, adhering to a lengthy schedule of headlining dates throughout the U.S. and U.K. with the Early November and Cartel in tow. The second edition of From the Screen to Your Stereo arrived in 2007, featuring pop-punk covers of songs like Lisa Loeb’s “Stay” and Simple Minds’ “Don’t You Forget About Me.” The group then joined the roster at Epitaph Records and set to work on a new album, Not Without a Fight, with blink-182’s Mark Hoppus in the producer’s seat. Two years later, New Found Glory went back to working with producer Neal Avron, who had worked with them on Sticks and Stones and Catalyst, for their seventh album, Radiosurgery.

Kill It Live, a live album that also featured a trio of new studio tracks, arrived in 2013. Also in 2013, the band parted ways with guitarist Klein after he was charged with several counts of lewd acts with underage girls. However, rather than replace Klein, the remaining bandmembers decided to continue on as a four-piece with Gilbert handling all the guitar duties. In 2014, the four-member New Found Glory delivered Resurrection, which found them diving into their punk roots with a renewed sense of purpose. The album was re-released in 2015 as Resurrection: Ascension, featuring two new studio tracks and a reworked version of “Vicious” with Paramore’s Hayley Williams. In 2017, New Found Glory celebrated their 20th anniversary with the release of their ninth album, Makes Me Sick, and a tour during which they would play several of their best-loved albums in their entireties. Makes Me Sick featured the singles “Happy Being Miserable” and “Party on Apocalypse.”

New Found Glory’s upcoming EP, From the Screen to your Stereo, will be released in 2019.


Revolution Live

Jenny Lewis had her first taste of stardom when she was a child, appearing in a series of television shows and films. As she came of age, she grew disenchanted with acting and turned to music, forming the popular indie rock band Rilo Kiley with Blake Sennett. Her work with Rilo Kiley drew upon the seediness of her native San Fernando Valley and nearby Hollywood and garnered great critical acclaim. However, she began to expand her horizons when she released a country-tinged solo debut calledRabbit Fur Coat. This established Lewis as a formidable singer/songwriter in her own right, and her reputation only grew after Rilo Kiley split-up, thanks to her rustic Americana album Acid Tongue and the slick pop sheen of The Voyager.  Acid Tongue debuted at 24 on Billboard’s Top 200 upon its release andThe Voyager debuted at number nine. Lewis has recently unveiled plans for her fourth solo album, titledOn the Line and set to arrive sometime in spring 2019. The follow-up to The Voyager promises 11 original songs and a personnel lineup on the album including Beck (with whom Lewis recently performed at Red Rocks Ampitheatre) and Ringo Starr, as well as Tom Petty and the Heartbreakers bandmemberBenmont Tench, producer/bassist Don Was, and noted session drummer Jim Keltner.

Taking Back Sunday

Revolution Live

Taking Back Sunday will be performing at Revolution Live FTL on TWO consecutive nights – Friday, Oct 11 and Saturday, Oct 12! Tickets are sold individually for each night.

In celebration of their 20th anniversary, Taking Back Sunday will be embarking on an extensive worldwide tour, paying tribute to their catalog – and their fans – with full album performances.

Taking Back Sunday will be performing their debut album Tell All Your Friends in its entirety. Each nightly set will offer a double-album play – using a specially designed coin, Taking Back Sunday will flip to play either Where You Want To Be or Louder Now in addition to Tell All Your Friends.

If you can’t believe that Taking Back Sunday have been around for 20 years, you’re not alone, because they can’t either. Although the pride of Long Island have had a handful of member changes over the years, the current lineup of the band – vocalist Adam Lazzara, guitarist John Nolan, drummer Mark O’Connell and bassist Shaun Cooper – have all been there since the beginning. From the band’s landmark 2002 debut Tell All Your Friends to their most recent full-length, 2016’s Tidal Wave, Taking Back Sunday have evolved from a key player in the early 2000s emo scene to a genre-defying rock band who have three gold albums without ever ceasing to push the limitations of their sound.

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