The Current presents

Mon Rovîa

with Sydney Rose and Sarah Julia

Doors 6:00 p.m. | Show 7:00 p.m. | All Ages

INFORMATION | TICKETS

Mon Rovîa

Mon Rovîa, the Liberian-born and Tennessee-based artist, is redefining modern folk through a powerful blend of soul, storytelling, and purpose. Named one of Spotify’s Juniper Artists to Watch, Mon has sold out every headline show to date and performed on some of the world’s most celebrated stages, including Bonnaroo, Austin City Limits, Newport Folk Festival, Boston Calling, and Red Rocks. His debut album, Bloodline, marks a major milestone in a breakout career defined by authenticity, empathy, and undeniable momentum.

Over the past year, Mon made his television debut on CBS Saturday Morning and The Kelly Clarkson Show, and completed his fully sold-out A Place To Gather North American headline tour, further cementing his reputation as a compelling live performer and community-builder. He was also featured by NPR for his breakout single “Heavy Foot” and made history as the first-ever musical guest on The Mel Robbins Podcast, where he joined the acclaimed speaker for an in-depth conversation on art, activism, and resilience.

Beyond the stage, Mon has emerged as a meaningful cultural voice. He headlined the ACLU’s Creatives For Freedom benefit alongside Sheryl Crow, Maggie Rogers, Mark Ronson, and Joy Oladokun, and performed at the Children in Conflict annual benefit with Common and Natasha Bedingfield, hosted by John Oliver—appearances that reflect the growing reach of his humanitarian perspective.

With more than 300 million lifetime streams, 2.5 million followers, and over 1 billion TikTok views, Mon Rovîa enters this new chapter with extraordinary momentum. Bloodline is out now.

Sydney Rose

Music will always be there for us—especially when we don’t have the words to express what we want to say. Georgia-born and Nashville-based singer, songwriter, and multi-instrumentalist Sydney Rose writes songs for those moments. As she sings, it almost sounds like she’s whispering in your ear, giving you a boost of confidence, offering a little clarity, or just reminding you everything will be okay. Growing up in the suburbs of Atlanta, she picked up ukulele, piano, and guitar. Building an audience organically on social media, she broke through with a viral take on “Turning Page” by Sleeping At Last. It gathered over 67 million Spotify streams, led to her first label deal at 18-years-old, and set the stage for 2022’s You Never Met Me EP. A year later, she unveiled her debut LP, One Sided, highlighted by “You’d Be Stars” [feat. Chloe Moriondo]. She received co-signs courtesy of everyone from Olivia Rodrigo and Addison Grace who invited her on tour. In the Fall of 2024, Sydney found herself unexpectedly released by her label. Now settled in Nashville, she reflected inwardly and returned all her focus to honing her music. She independently dropped the fan favorite voice notes EP. While sitting at the piano one day, she crafted “We Hug Now.” It exploded on TikTok and inspired over 1 million “creates,” yielding 6.5 billion total views and reaching the Top 15 of the TikTok Top Songs Chart. “We Hug Now” catapulted to the Top 3 of the Spotify US and Global Viral 50 Charts. Amassing 190 million streams and counting, she entered and quickly hit Top 20 on Billboard’s Emerging Artists Chart and hit Top 10 on Billboard’s Hot Alternative Songs Charts. Now, Sydney continues to captivate with her I Know What I Want EP, which marks her first release under her new label home, Mercury Records. In support of the EP, Sydney performed at BST Hyde Park alongside Noah Kahan, Gracie Abrams, FINNEAS, and more, and capped off 2025 with a sold-out headline tour across the US and Europe.

Sarah Julia

Sarah Julia’s music is an exercise in tenderness, bound by sisterhood and defined by a haunting, piercing vulnerability. Their deeply introspective brand of indie folk is forged from a shared childhood: the product of overlapping memories and a communal formative soundtrack that presents itself in the pure vocals that cradle each other in harmony as they delicately address love, heartache and family.

From a young age, they developed a shared love of music – trading album recommendations for the likes of Bon Iver and Ben Howard to expand on the Cat Stevens and Jim Croce their parents raised them on – before they individually began dabbling in making music themselves. But it wasn’t until a significant change in their family occurred that they began intertwining those efforts, seeking a shared catharsis in songwriting.

What emerged was their debut EP, How Do We Go Back To Being Normal? – an audible snapshot of a period of their lives enveloped in grief and change. Interwoven with confessional, diaristic lyricism and elegiac harmonies, their mystical take on folk quickly garnered them a cult following.

How Do We Go Back To Being Normal?’s follow-up Only Making It Worse, due out on May 9, builds on these golden foundations. Somehow richer and more devastating than its predecessor, their second EP sees them delve into a slightly poppier soundscape while affirming their entry into a canon of female singer-storytellers spinning gold from the ordinary fabric of everyday life, recalling elements of Phoebe Bridgers, Adrienne Lenker, and Joni Mitchell.

Here, they explore the plethora of ways frustration and disappointment show up in their own lives and, in doing so, tap into the hive mind of a generation lost in an increasingly dystopian modern landscape. “It’s this general feeling of just being beaten down and disappointed in the people you love or trust, or once trusted,” Julia explains. “It’s also about wanting change but also knowing you’re not the one to make it happen.”

Produced by Catharine Marks (boygenius, The Big Moon, Wolf Alice), Only Making It Worse is comprised of music written over the past three years. While touring their first EP, they began trialling its follow-up on the road, sculpting the songs further with each live performance.

By allowing the songs to simmer over the years, they also found that the initial anger that had been the foundation of some of them had dissipated into a more melodic sadness. “You really want to make sure that you stand behind the song even after all that time,” Sarah explains of their tendency to take their time. “You don’t want it to feel too impulsive. Especially for these songs and for what stage we’re at in our lives right now, it just feels holding onto them all this time has been the truest thing to who we are.”

As a whole, their second EP flexes their unique ability to transform frustration and pain into a collection of songs that, inadvertently, find wonder within despair. By doing so, they hope they’ll be able to provide a sense of comfort to listeners also caught in the web of disappointment.