Winona Fighter
More about this event
ARTIST PROFILE | Winona Fighter
Sometimes, album titles just make sense. They capture the spirit of the band who made it, as well as the songs that make up the record. Brutal & Extremely Underrated is one of those titles. It’s taken from a line in “Self Affirmations”, the sixth song on Winona Fighter’s second full-length, in which frontwoman Chloe ‘Coco’ Kinnon—who also plays drums on all its songs—wrestles with both the way she perceives herself and the way the she feels others may perceive her. But it doubles up as a description of where she feels the Nashville trio—completed by lead guitarist Dan Fuson and bassist/producer Austin Luther—have landed in the wake of their 2025 debut album, My Apologies To The Chef.
That album was released to great fanfare, and established Winona Fighter as a true force to be reckoned with in the alternative/punk world. Its songs transformed Kinnon’s anxiety about both the world and her own life into a very powerful anger, the kind that inspires as much as it rages. That rage has been amped up even more on this record—which, like its predecessor, was self-produced by Luther and recorded at his home studio—but there’s a significant shift in focus. Whereas before it generally looked inwards, this time the viewpoint is more outwards, reacting to, and directly addressing, the unignorable state of the world.
“A lot of these songs are inside thoughts,” explains Kinnon, “where if I said them in a public setting they would ring true, but people would also be like, ‘You’re not allowed to like say that!’ But we have more songs about conflict around the world and in our country, songs that look out into the world and our perception of it and its politics. Whereas the first record was totally things, up until that point, that had just happened to me personally.”
That shift in focus comes partially from a sense of self-assurance that all three band members were feeling when they were writing these songs and making this record. Which also very much ties in with the album’s title.
“We went into this record with a little bit more knowledge and confidence,” continues Kinnon. “There’s more swagger, and we had bigger goals for ourselves.”
That attitude is worked into the fabric of these songs from beginning to end. Though that debut was a tough act to follow, these songs have even more bark, more bite, more visceral intensity and raw feeling than that one did. To some extent, that was reaction to the challenge of making the record after the success of the first, of not succumbing to the cliché sophomore slump.
“We definitely felt that second record cloud hanging over everything,” admits Luther, “but we also felt we were making something that was really great. It’s not a sharp pivot, but it is an evolution. We didn’t want to make the second record a copy of ourselves. We wanted to grow and evolve, so that was very nerve-wracking. Like, are we changing the right amount or too much? Are people going to get it or is it going to turn people away? I think, for all of us, it was a bit of a mind game, but we just went with our gut overall because we wanted to make a kick-ass record.”
“I still feel—in a good way—that we have a lot to prove and a lot to give,” adds Fuson. “We do have still a lot of confidence, and we’re trying to just continually do better. And I think these songs reflect that like forward momentum in both our songwriting and our playing.”
They absolutely do. From the moment it kicks off with “TV On The Radio”, Brutal & Extremely Underrated is full of a tangible, charged energy. At times desperate, at others vulnerable, that first song is a rush of melody and aggression, sweet yet surly, that sets the tone for what follows. Because the balance between those two things is in constant flux on these twelve tracks, shifting depending on the song and subject matter. Second track “Bombs Away”, for example, is probably the most overtly political song here—a cathartic and vicious hardcore punk explosion centered around the immigration raids that have been ramping up all across the USA over the past year or so.
“That song references ICE, as well as my distrust in the government as a whole,” explains Kinnon. “That’s what came out when we were writing it because it’s hard to keep it contained. The second you keep it contained and stop talking about it is when you become complacent in a world that you should not have complacency in. You can still have happiness and joy, but there are also conversations to be had. And we have a platform, so we should use it.”
The album was recorded over the course of two sessions, the first of which coincided with an ice storm that rendered most of Nashville without power, and the garage in which they were recording without heat. Understandably, that prompted the band to finish it as quickly as they could.
“There was definitely an urgency about it,” remembers Luther. “We were like ‘We’ve got to just nail this, otherwise we could lose power and it might not save.’ We had to make sure it all happened quickly.”
In order to bottle the raucous energy of their live shows, as well as that created by the ice storm, this time around, the band outsourced mixing to Grammy Award-winning engineer Greg Collins (System Of A Down, U2, Eels, No Doubt). He did a great job. It’s in the almost grungy self-awareness of “Leech”, written after Kinnon ill-advisedly read some online comments about the first record, it’s in the tense vulnerability of “Lily Cut Her Hair”, a song Kinnon wrote with PUP’s Stefan Babcock about one of her closest friends, and it’s in the raucous insecurity of “Out! There!”. It’s also a huge part of the spiky, angular “Title Redacted”—yes, that is a (partial) reference to the Epstein Files, but it started life as a song about AI—which closes this album with a heartfelt surge of snarling, melodic punk rock.
“That song has a lot to do with common sense and critical thinking going absolutely out of the fucking window and into the shitter,” Kinnon says bluntly.
It all combines to create a record that fizzes with a vitality comprised of both anger and hope. More than anything, it’s an album that is 100 per cent real. That was paramount for the band to capture, especially in a day and age (and music industry) where AI is infiltrating everything. Winona Fighter, though, wanted people to unequivocally know that this was made by human beings who gave this album absolutely everything they could.
“That song is such a perfect way to end the record,” says Kinnon, “because it is—and we are—real. We speak on real things, we’re real people, everything on the record is real. Every instrument, every vocal take. There’s this one line on that song where it sounds like I’m almost out breath, but I didn’t want to edit that out. We wanted to keep the rawness and the realness in it, and I hope people can feel that.”
They extended that to the artwork, too. The band worked with director/photographer Hannah Hall to create three videos for the record as well as photos for it, while the cover art is a sculpture by one of Kinnon’s favorite artists, Glen Martin Taylor, specifically made for this album after she cold-emailed him and asked if he’d be interested in doing so.
“He did such a phenomenal job,” says Kinnon, “and it felt like we were kindred spirits when we were talking. It's really cool to have a record that's so real and then to have real art be the cover art, and I hope it shows people that there are still real bands out there who want to spread love and create community and make fucking rock music.”
READ MORE >>
Supporting Acts
SHOW BY SIMILAR ARTISTS
About HI-FI | Indianapolis, IN
HI-FI is located inside the historic Murphy Arts Center in the heart of Fountain Square. HI-FI hosts shows virtually every night of the week and is known for finding new artists on the rise. The venue is acoustically one of the best sounding venues in the Midwest. The entrance is located at the front of the building on Virginia Ave and the Indianapolis Cultural Trail.
Getting Around the Venue
Frequently Asked Questions About HI-FI | Indianapolis, IN
What are the age restrictions at this venue?
Most of our gigs are open to those of all ages, though there are a few exceptions. Double-check our website for specific age requirements before getting your tickets. We’ve made it super easy to spot the age restrictions on each event listing.
If you are going to indulge in a seating upgrade in our VIP area, all guests must be 21 years of age or older.
HI-FI requires a valid ID for admission. For guests who will be consuming alcoholic beverages, a valid state or government issues ID is required. Everyone will be carded during check-in. Expired and temporary ID’s are not accepted.
Can I upgrade my ticket to VIP seating?
HI-FI proudly offers our VIP Deck, situated at the rear of the venue. This elevated section features table seating and provides convenient access to the bar. Please be advised that all guests in this area must be 21 years of age or older. For seating upgrade inquiries, please contact the box office at boxoffice@hifiindy.com or check here.
What items are permitted or prohibited at this venue?
At our venues, we strive to ensure a safe and enjoyable experience for all guests. While specific rules may vary slightly depending on the event location, the following list generally applies across all venues.
Any illegal items found will be confiscated immediately. Guests discovered with prohibited items inside the venue may face ejection, and those attempting to enter with such items may be denied entry.
We appreciate your cooperation in adhering to these guidelines to ensure everyone’s safety and enjoyment during our events.
Permitted Items Include:
- All bags and possessions are subject to search and may be subject to metal detection. No backpacks are permitted at any of our venues.
- Clear tote or bag made from plastic, vinyl or PVC that does not exceed 14” x 14” in size.
- Personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size
- To-Go Food from local restaurants
- Clear Plastic Refillable Water Bottles (empty)
- A warm heart and smiles
Prohibited items include:
- Weapons of any kind: Firearms (with or without permit), knives (any size), multi-tools
- Pepper Spray or Mace
- Flares or Fireworks
- Oversized bags (Bag larger than 12” x 12”, including all backpacks, briefcases, luggage, or duffle bags)
- Metal Water Bottles
- Illegal Substances
- Outside Beverages
- Laser Pointers
- Removable lens cameras or flash photography, tripods, monopods, selfie-sticks (unless pre-approved by Event Manager)
- Audio or Video recording devices (unless pre-approved by Event Manager)
- Signs larger than 11” x 17” or any sign attached to a stick or pole
- Skateboards, hoverboards, rollerblades, scooters, or bicycles
- Hula hoops, spray paint, silly string
- Noise Making devices (i.e. Air Horns, drums, whistles)
- Coolers or Ice Chests
- Animals/Pets (Except Service Animals)
HI-FI reserves the right to prohibit any item, including items not listed above, from entering the premises if deemed hazardous or disruptive to the event.
Can I bring a bag into the show?
Yes! You’re welcome to bring personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size. No backpacks are permitted at any time.
What’s the parking situation like?
Depending on the day and time, finding a spot can be tricky. On busy show days we advise arriving early to ensure you get a good spot.
We’re excited to announce our partnership with LAZ Parking to offer pre-paid parking options for HI-FI and HI-FI Annex events. The lot is conveniently located directly next to HI-FI Annex, in the former PNC Bank parking lot. Check here for parking availability ahead of your show.
Parking is free on all of the surrounding streets in Fountain Square and most parking lots.
We advise against traveling down St. Patrick St on show days, as it can become congested one-way with traffic coming from both directions.
Bike parking is available at any of the bike racks on Virginia Ave in front of HI-FI.
What is the camera/photo policy for this venue?
Our photo policy varies for each event and is at the discretion of the artist performing that night. This policy can change from night to night.
As a general guideline, we typically do not permit professional photography unless it has been pre-approved by either HI-FI or the Artist Management.
For approved photographers, you’re welcome to snap photos during the first three songs of the performance. However, please refrain from using flash.
Media personnel and professional photographers interested in covering our events can reach out to us at marketing@hifiindy.com to request media credentials.
Is there food and drink at this venue?
Absolutely! You can grab some chips, candy, or snacks at HI-FI’s bar. We also offer a variety of snacks and non alcoholic beverages, available for purchase at our box office for patrons under 21.
View seating maps for this venue
Check your show listing for information on the show’s seating configuration. The majority of HI-FI shows are general admission, standing-room-only. Depending on the show, there are a handful of tables available to those who arrive early. There is a limited amount of seating upgrades available on the VIP deck. Contact the box office to secure a seating upgrade for your show at boxoffice@hifiindy.com or check here. Shows that are reserved or partially reserved seating configurations will have information or purchase options directly on the event listing.
Can I leave and re-enter the venue?
Re-entry is allowed for HI-FI shows once you’ve been stamped or wristbanded by a member of our staff.
Do you offer ADA, handicap or special needs options?
There are 2 handicapped parking spots in the lot located across Prospect St. closest to El Arado Mexican Grill. The box office handles any special needs or ADA seating requests at boxoffice@hifiindy.com.
Where is the box office located?
Getting tickets to our shows is super easy! You have a few options, depending on how you like to roll:
Online: Grab your tickets in advance from our official websites, hifiindy.com and mokbpresents.com, or through our trusted ticketing partner tixr.com.
In Person: Swing by one of our convenient box office locations around the Murphy Arts Center building and grab tickets with no service fees:
HI-FI Box Office: Found at 1043 Virginia Ave Suite 4 (at the main entrance to HI-FI). Open only on show nights, starting 1 hour before published door times until the end of show.
Annex Box Office: Found at 1065 St. Patrick Street (at the main entrance to Annex). Open only on show nights, starting 1 hour before published door times until 9 pm.
I lost something at the show. Who do I contact?
Have you misplaced something during one of our events? Don’t worry, we’re here to help reunite you with your belongings! While we can’t take responsibility for lost or stolen items, we’re committed to assisting you in any way we can.
Found items are securely stored at our office until they’re claimed. Please note that items lost during late-night events might take until the next morning to reach our lost and found. We know you might be eager to retrieve your belongings (like that phone you’re pinging outside our door at 6 am), but our team typically wraps up late-night events and may not be available until later in the morning.
To inquire about lost items, shoot us an email at boxoffice@hifiindy.com. Found items can be picked up in our Office (Suite 2) Monday – Fridays 10am – 6pm. Guests may be required to provide identification or another form of verification to claim their items.
Let’s work together to get your goods back to you as quickly as possible!
What is your refund policy?
What’s Your Refund Policy for Postponed Shows?
If a show gets postponed, don’t sweat it! We’ll shoot you an email to let you know about the change, and if you’re cool with the new date, no further action is needed on your part. We’ll be working diligently to find a new date for the show, and we’ll keep you updated every step of the way. But if you can’t make it to the rescheduled gig, we’ve got your back. You’ll have a generous 30-day window following the announcement of the new date to request a refund.
Please bear with us as we explore rescheduling options with the tour. Your patience is much appreciated as we work to present the best possible show experience for you.
What’s the Refund Policy for Canceled Shows?
In the unfortunate event of a canceled show, don’t fret! If you purchased your tickets online, your refund will be processed automatically. Just sit tight and allow 3-5 business days for the refund to appear in your bank account.
No need to lift a finger! However, there are a few scenarios where you might need to reach out to our box office:
- If you’ve received a new or different card since your original purchase.
- If you haven’t seen the refund in your account after 5 business days.
What Happens if a Show Gets Rescheduled?
No worries! If a show you’ve already grabbed tickets for gets rescheduled, your tickets will still be valid for the new date. We’ll shoot you an email to let you know about the change, and if you’re good to go for the new date, no further action is needed on your part.
However, if you can’t make it to the rescheduled gig, we’ve got you covered. You’ll have a generous 30 days from the announcement of the new date to request a refund. Just reach out directly to our box office to kickstart the process.
Beware of counterfeit tickets. How do I tell if my ticket is valid?
It’s crucial for all buyers to exercise caution when purchasing tickets from unauthorized sites and ticket resellers. Tixr is the only ticket vendor supported at our venues. Unfortunately, this is a widespread issue affecting venues nationwide, and true fans often find themselves at a loss. Regrettably, there’s little we can do in such situations. Since the original transaction didn’t occur through our authorized ticketing partners, we lack the necessary information to assist. It’s disheartening to witness fans being taken advantage of, especially on platforms like Craigslist, Facebook, StubHub, VividSeats, SeatGeek, and others. We are only obligated to honor valid tickets purchased through our approved channels.
Can I purchase tickets in person without fees?
Yes. HI-FI box office is located at the main entrance off of Virginia Avenue. The box office is open 1 hour prior to the published door time. Additionally, our Annex Box Office on St. Patrick Street, across from the church, is open 1 hour prior to the published door time on Annex show nights.
NOTE: HI-FI venues are now cashless. We accept all major credit cards and tap-to-pay options for tickets and other purchases inside the venues.
Do you have free WI-FI?
Yes. HI-FI offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set!
Winona Fighter
Start Time: 8:00 pm
Venue Presale: Thurs 10/15 12pm-10pm, code: MOKB27
Buy Tickets
ARTIST PROFILE | Winona Fighter
Sometimes, album titles just make sense. They capture the spirit of the band who made it, as well as the songs that make up the record. Brutal & Extremely Underrated is one of those titles. It’s taken from a line in “Self Affirmations”, the sixth song on Winona Fighter’s second full-length, in which frontwoman Chloe ‘Coco’ Kinnon—who also plays drums on all its songs—wrestles with both the way she perceives herself and the way the she feels others may perceive her. But it doubles up as a description of where she feels the Nashville trio—completed by lead guitarist Dan Fuson and bassist/producer Austin Luther—have landed in the wake of their 2025 debut album, My Apologies To The Chef.
That album was released to great fanfare, and established Winona Fighter as a true force to be reckoned with in the alternative/punk world. Its songs transformed Kinnon’s anxiety about both the world and her own life into a very powerful anger, the kind that inspires as much as it rages. That rage has been amped up even more on this record—which, like its predecessor, was self-produced by Luther and recorded at his home studio—but there’s a significant shift in focus. Whereas before it generally looked inwards, this time the viewpoint is more outwards, reacting to, and directly addressing, the unignorable state of the world.
“A lot of these songs are inside thoughts,” explains Kinnon, “where if I said them in a public setting they would ring true, but people would also be like, ‘You’re not allowed to like say that!’ But we have more songs about conflict around the world and in our country, songs that look out into the world and our perception of it and its politics. Whereas the first record was totally things, up until that point, that had just happened to me personally.”
That shift in focus comes partially from a sense of self-assurance that all three band members were feeling when they were writing these songs and making this record. Which also very much ties in with the album’s title.
“We went into this record with a little bit more knowledge and confidence,” continues Kinnon. “There’s more swagger, and we had bigger goals for ourselves.”
That attitude is worked into the fabric of these songs from beginning to end. Though that debut was a tough act to follow, these songs have even more bark, more bite, more visceral intensity and raw feeling than that one did. To some extent, that was reaction to the challenge of making the record after the success of the first, of not succumbing to the cliché sophomore slump.
“We definitely felt that second record cloud hanging over everything,” admits Luther, “but we also felt we were making something that was really great. It’s not a sharp pivot, but it is an evolution. We didn’t want to make the second record a copy of ourselves. We wanted to grow and evolve, so that was very nerve-wracking. Like, are we changing the right amount or too much? Are people going to get it or is it going to turn people away? I think, for all of us, it was a bit of a mind game, but we just went with our gut overall because we wanted to make a kick-ass record.”
“I still feel—in a good way—that we have a lot to prove and a lot to give,” adds Fuson. “We do have still a lot of confidence, and we’re trying to just continually do better. And I think these songs reflect that like forward momentum in both our songwriting and our playing.”
They absolutely do. From the moment it kicks off with “TV On The Radio”, Brutal & Extremely Underrated is full of a tangible, charged energy. At times desperate, at others vulnerable, that first song is a rush of melody and aggression, sweet yet surly, that sets the tone for what follows. Because the balance between those two things is in constant flux on these twelve tracks, shifting depending on the song and subject matter. Second track “Bombs Away”, for example, is probably the most overtly political song here—a cathartic and vicious hardcore punk explosion centered around the immigration raids that have been ramping up all across the USA over the past year or so.
“That song references ICE, as well as my distrust in the government as a whole,” explains Kinnon. “That’s what came out when we were writing it because it’s hard to keep it contained. The second you keep it contained and stop talking about it is when you become complacent in a world that you should not have complacency in. You can still have happiness and joy, but there are also conversations to be had. And we have a platform, so we should use it.”
The album was recorded over the course of two sessions, the first of which coincided with an ice storm that rendered most of Nashville without power, and the garage in which they were recording without heat. Understandably, that prompted the band to finish it as quickly as they could.
“There was definitely an urgency about it,” remembers Luther. “We were like ‘We’ve got to just nail this, otherwise we could lose power and it might not save.’ We had to make sure it all happened quickly.”
In order to bottle the raucous energy of their live shows, as well as that created by the ice storm, this time around, the band outsourced mixing to Grammy Award-winning engineer Greg Collins (System Of A Down, U2, Eels, No Doubt). He did a great job. It’s in the almost grungy self-awareness of “Leech”, written after Kinnon ill-advisedly read some online comments about the first record, it’s in the tense vulnerability of “Lily Cut Her Hair”, a song Kinnon wrote with PUP’s Stefan Babcock about one of her closest friends, and it’s in the raucous insecurity of “Out! There!”. It’s also a huge part of the spiky, angular “Title Redacted”—yes, that is a (partial) reference to the Epstein Files, but it started life as a song about AI—which closes this album with a heartfelt surge of snarling, melodic punk rock.
“That song has a lot to do with common sense and critical thinking going absolutely out of the fucking window and into the shitter,” Kinnon says bluntly.
It all combines to create a record that fizzes with a vitality comprised of both anger and hope. More than anything, it’s an album that is 100 per cent real. That was paramount for the band to capture, especially in a day and age (and music industry) where AI is infiltrating everything. Winona Fighter, though, wanted people to unequivocally know that this was made by human beings who gave this album absolutely everything they could.
“That song is such a perfect way to end the record,” says Kinnon, “because it is—and we are—real. We speak on real things, we’re real people, everything on the record is real. Every instrument, every vocal take. There’s this one line on that song where it sounds like I’m almost out breath, but I didn’t want to edit that out. We wanted to keep the rawness and the realness in it, and I hope people can feel that.”
They extended that to the artwork, too. The band worked with director/photographer Hannah Hall to create three videos for the record as well as photos for it, while the cover art is a sculpture by one of Kinnon’s favorite artists, Glen Martin Taylor, specifically made for this album after she cold-emailed him and asked if he’d be interested in doing so.
“He did such a phenomenal job,” says Kinnon, “and it felt like we were kindred spirits when we were talking. It's really cool to have a record that's so real and then to have real art be the cover art, and I hope it shows people that there are still real bands out there who want to spread love and create community and make fucking rock music.”
READ MORE >>
Supporting Acts
About the Venue
Upgrades: A limited amount of VIP seating upgrades (21+) are available for select shows. Contact the box office to purchase or check availability: boxoffice@hifiindy.com.
Ticket Support: Box Office opens 1 hour before published door time. For ticket related questions please email boxoffice@hifiindy.com.
Parking: Street Parking, Bike Parking
More Shows Like This
Be the first to know
"*" indicates required fields