Damien Jurado with St. Yuma at Ardmore Music HallSunday, September 20, 2026 Seated Doors: 5:45 PM | GA Doors: 6:15 PM | Show: 7:00 PM 21+ Unless with a Parent or Legal Guardian About The Venue: Food, Concessions + Drink Menus | Venue FAQ | Contact Info About Damien Jurado Website | Instagram | YouTube | Spotify "Play on, there’s no such thing as better days,” Damien Jurado sings on “Roger,” the sweeping wash of a song that opens Reggae Film Star, his 18th full length album and second release from Jurado’s own Maraqopa Records label. But as he enters his 25th year as a recording artist, it’s clear these are, at the least, very good days for Jurado on the creative front. In these 12 songs, which evoke half-recalled dreams and overheard conversations, the cosmic rushes headlong into the autobiographical and specific moments on the clock fade from past to future to scenes set only in the eternal now. Produced by Jurado with multi-instrumentalist Josh Gordon and recording engineer Alex Bush at Sonikwire studio in Irvine,CA, Jurado’s home away from home and musical headquarters, the record’s compositions are among the most musically rich in his vast discography, encompassing romantic AM gold, ‘60s psychedelia, driving rock & roll, Latin shuffles, and left of the dial ambiance. Strings swell, melodic bass bubbles, and piano sparkles, undergirding Jurado’s unmistakable voice, at once intimately present and ghostly, grounded in the here and now but capable, at any moment, of drifting off into the divinatory. Following threads established by 2021’s The Monster Who Hated Pennsylvania, the album sees Jurado embracing his auteur era, penning vignettes that arrive with little fanfare and depart quicker than you might suspect, only to linger long after they wrap. About St. Yuma Website | Facebook | Instagram | YouTube | Spotify St. Yuma is the songwriting moniker of Stevan Alva, beginning in 2015 in Seattle’s Capitol Hill neighborhood. Rooted in intimate storytelling and emotional excavation, the project has evolved into a distinct voice that blurs the line between confession and performance. Following the quiet grief of 2024’s Country Sleight of Hand, Alva returns with Trout Man—a bold and surreal expansion of the St. Yuma world. Where his previous work lingered in hushed mourning, Trout Man leans into the strange and theatrical, transforming sadness into a cast of peculiar figures: a self-loathing trout, a walrus named Alone, and a children’s host after the curtains drawn, drifting somewhere between comfort and disillusionment. Blending folk, lounge, and experimental pop, Trout Man unfolds like a dream staged in dim light—part confession, part hallucination. Horns swell with a crooked grin, pianos drift through submerged memories, and each song feels like overhearing someone else’s dream only to recognize yourself within it. Rather than offering resolution, St. Yuma creates space—for discomfort, for reflection, for the strange emotional textures we often avoid. Trout Man doesn’t ask to be understood; it invites listeners to sit with it, to feel deeply, and to find meaning in the surreal corners of their own inner worlds. Join Ardmore Music Club | Private Events | AMH Merch