First Avenue’s Best New Bands of 2025 at First Avenue (January 17, 2026)

As a planned pot-stirring demonstration fizzled into nothingness in the afternoon in Minneapolis, it was pretty quiet in the early evening as the deep freeze started to settle on the area. On the other hand, over at First Avenue, it was going to be a barn burner, as it was the annual Best New Bands show. As we mentioned in last year’s review, this is a pretty deft display of both the local music scene and the First Avenue crew, who are on the spot for keeping the evening on track as seven bands take the stage in a mere four hours. 

Sophie Hiroko got the long evening started. We just missed seeing her perform in the Clown Lounge as part of the Tom Petty tribute closing out 2025, as the sold out show was not conducive to going up and downstairs. So, it was a pleasant surprise to be able to catch her this quickly and playing the Main Room. The Duluth native, who self-describes her sound as “tender bubble grunge” (what a fun descriptor) has an EP, to the core, from July 2025. They came on as a trio (vocals/guitar, bass, and drums) and started with a vocal tuner that was not working correctly. Quickly getting it fixed, Hiroko got moving and the 90’s grunge revival was very clear. The drums on the second song were fantastically loud and crashing and the reverb was ongoing. A switch of guitars led into Cashmere Candles, a new song part of an upcoming album, and was the poppiest sounding number of the set. These were quick songs and as the band went into Ashes, it was their fifth one at just past the 15 minute mark. Ending their six-song set, Sophie Hiroko had done a nice job getting things kicked off.

Next up was LaSalle. We last saw him opening for Eric Mayson over at Turf Club in January 2025. After another band suffering a start with a technical snafu, LaSalle performed as a sextet (vocals/guitar, guitar/backing vocals, guitar, saxophone, bass, and drums). This was a high tempo funk and R&B infused rock, and the first number set a high bar. Though the backing band were all great, LaSalle is the energetic middle here as he danced, sang and played guitar and wearing the full black suit was a great visual look. But that full band feel really made this fly, and LaSalle had the crowd in full sway. With an on topic lyric of “f ICE” as part of a song that was about “the kids will be just fine”, the band was plugged into the moment and the audience responded in kind. Ditching the suit coat, LaSalle moved onto Friends, with the funkiest sounding intro where the drummer was absolutely holding court. Finishing up with one of the guitarists moving to keyboards, LaSalle brought that funk rock sound home strong.

Maygen & the Bridwatcher was a big change in genre sound, bringing their Americana tones to the stage. We last saw them kicking off the 2025 Minnesota Yacht Club, and were pretty big fans of what they bring to a performance. With seven members (vocals/guitar x2, mandolin, fiddle, guitar, bass, and drums), it was a crowded stage for sure. But that opening folk rock was a huge sound, with three vocalists (Noah Neumann taking lead), some wild fiddle and a crashing drums. With Maygen Lacey taking lead on the second number and banjo taking the fore, that sheer range of sound they were able to create by shifting primary voices and instruments was very impressive. Neumann took point for a more country sounding song, though Lacey had lead on the second verse and even banjo player Nick Pellinen got a verse of his own. A final number was “dedicated to our neighbors”, and Right Where You Belong was a delightful way to end for Maygen & the Birdwwtcher.

Sallyforth was next and the quintet (vocals/violin, vocals/guitar, guitar, bass, and drums) has a pretty excellent EP Memento Mori, released in 2025. That dual vocal sound from Emma Rothwell and Hattie Peach was pretty great, and the alt rock with a splash of Americana was a perfect transition in the evening. That long instrumental outro with heavy guitar from Oliver Gerber was blasting and the crowd obviously had some fans in attendance. Oil Light was such a good song and the violin solo played that line between genres so well. I always love the authentic “so grateful to be here” that Best New Bands has, and Sallyforth doubled down on it by playing a song they had released this very day. Archives was a perfect example of their work and really highlighted all of the band members from the great bass work of Daisy Forester to the duo singers. I’ll be intrigued to see where Sallyforth goes from here, because the band seems to have all the pieces to go far. With a couple of songs left, Peach thanked the crowd for coming out and supporting their community in all the ways they can, and it was real and meaningful. The alt rock sound kicked back in full gear with Gerber and Rothwell’s guitars driving things forward. Sallyforth closed with a high paced song and a blistering instrumental section that was pretty awesome. 

GR3G is a Chicago born singer and songwriter now based in Minneapolis who has several EP’s, including 2025’s CHILDREN OF THE HOOD. Playing their hip hop, alt R&B sound mostly as a quintet (vocals, keyboards, keyboards/guitar, bass, drums, though also with an intro of saxophone), GR3G’s rap flow was smooth as he continually moved across the stage. That backing music was almost jazz-like, with those two keyboards flying. The drummer took to his mic for some great R&B singing and was a great harmony complement for GR3G. The rap through line was a consistency that never seemed to let up. It was medium to slightly faster paced, but GR3G carried the lyrics through with very little break and it was a well done sound. Lake Shore called back to his Chicago upbringing and loss, and the backing guitar and bass were a solid support for the lyrics. The next song was dedicated to his mother, who had driven up from Chicago and the call out and audience cheering for her was a pretty special moment. GR3G called out his backing band in a late song, “they’re killing it”, which was exactly right. After a quick introduction of the band, they headed into the final number, finishing with that smooth and steady hip hop that had gotten the audience heartily cheering the band as GR3G left stage with the band closing out a short instrumental section.

Mother Soki kept the evening moving. We last saw them opening at a fabulous show headlined by she’s green in August 2025. The quintet (vocals, guitar, guitar, bass, and drums) had her sashaying across the stage, and often coming all the way to the front. With some reverb on her mic, the band’s indie rock / dream pop sound was punctuated by the transition to the second song, with some dark and ethereal guitar work. The backing band was pretty chill, with the bassist nearly motionless, which was a fun contrast to the movement at center stage. That chill vibe and dreamy sound continued with the slower tempo music, though the jangly guitar kept the intensity fairly high. Some heavy feedback and reverb on the strings had some good riffs and Mother Soki gave room for the band to drive between verses. Some understated pedal board effects kept the guitar sounds with ever changing tones, helping that dream sound pull through. A full sit down on the edge of the stage was high drama in the moment, but also made for an awkward getting back up, but was likely worth it. Closing on a number that included the drummer playing both drums and drum pad gave a slight electronic feel to the close of Mother Soki’s set.

The last band of the evening was Chutes. The quintet (three guitars with two of them on vocals, bass, and drums) was high powered indie rock, and both band and crowd were jumping from the very first song.  Noting they had just out out an EP in the last month, “we’ll be playing almost all new songs”. The band was having fun and that energy was infectious, with the front of the house belting lyrics along with the band. A quick tuning and Chutes powered into the next song, with guitarist Nate Walker (my goodness, he’s everywhere!) jumping up onto the drummer’s platform. The lead vocals from Ryan Kemp and Anna Devine worked very well together and were a key to the success of Chutes. This was indie pop goodness and the band had the musical chops to carry it off, with Walker’s scorching guitar solo a highlight. Transitions were tight, as Chutes kept moving along, and some great drum work on the front end of a mid set number felt like the next wave pushing forward. If it’s not coming across, Chutes had nailed the assignment for pure joy and a wonderful rock sound. Closing on the slowest starting number, it inevitably rose to a power packed instrumental and finish. Another Best New Bands had come to a successful close and bands and audience were buzzing as they mingled afterwards.