How Nothing’s Domenic Palermo Turned Slide Away Into Underground Rock’s Most Vital Festival

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Domenic Palermo’s Slide Away Festival Grows Into Underground Rock’s Vital Gathering

Brooklyn, Chicago, and Los Angeles — May 14, 2026

For Domenic “Nicky” Palermo, the frontman of the band Nothing, the annual Slide Away festival has become more than a weekend event—it’s a movement. Now in its largest edition yet, spanning six shows across three cities (Brooklyn’s Paramount on May 15–16, Chicago’s Aragon Ballroom on May 22–23, and Los Angeles’ Hollywood Palladium on May 29–30), the festival has sold roughly 20,000 tickets and cemented its reputation as a must-attend for fans of underground guitar music.

Palermo, speaking from a stopover at Connecticut’s Mohegan Sun casino and hotel, admitted the scale of this year’s lineup has been overwhelming. “I dare say I bit off a little bit more than I can chew,” he said with a laugh. But the effort reflects the festival’s growing influence: Slide Away has evolved from a scrappy DIY project into one of underground rock’s most vital gatherings, reviving interest in genres like dream pop, ambient, and shoegaze—a niche once dismissed as too insular to sustain large crowds.

A Festival Built on Revival

The true draw of Slide Away is Palermo’s ability to lure back legendary acts that had long vanished from stages. This year’s headliners include Hum, the Illinois band that broke a 17-year touring hiatus in 2015 and has remained largely silent since drummer Bryan St. Pere’s death in 2021, and Chapterhouse, whose 1991 album Whirlpool became a foundational text for atmospheric guitar music despite the group’s decades-long absence from American stages.

Palermo’s pursuit of these acts began with persistence bordering on obsession. For Hum, he convinced guitarist/vocalist Matt Talbott that fans still cared deeply about their 2020 comeback album, Inlet, which many now regard as their magnum opus. “Matt was very concerned that people didn’t care about Inlet at all,” Palermo recalled. “And I had to tell him, no, they absolutely do. People are dying to hear these songs.”

Chapterhouse’s inclusion underscores the festival’s broader mission: to bridge generational divides. “No Chapterhouse, no Nothing,” Palermo stated bluntly. “Those records are incredibly important to me.” Their reunion reflects a cultural shift—what was once considered cult music has become newly communal, with younger audiences discovering and revitalizing bands once thought too niche to sustain.

An “Anti-Festival” Philosophy

Slide Away’s success lies in its defiance of corporate festival norms. Palermo rejects merch rates, prioritizing fan experience over profit. “We know what sucks,” he said, referencing Nothing’s decade-plus history on the touring circuit. “Not having merch rates is one thing we demand. We just want people to have a good experience.”

The lineup reflects this philosophy, blending returning acts like Hum and Chapterhouse with rising stars such as She’s Green, Warmachine, and Mexico’s Mint Field. Palermo curates each night intentionally, pairing headliners with undercard acts that complement their vibe. “There’s so many younger bands I’m excited about getting on these stages,” he said.

A Movement, Not Just a Festival

Palermo’s vision for Slide Away extends beyond music. He describes it as an “anti-festival festival,” a counterpoint to the homogenized corporate events dominating the scene. The festival’s impact was evident at the first Slide Away, when Palermo watched hundreds of younger fans engrossed in Lovesliescrushing’s set—phones absent, attention undivided. “That was one of those moments where I stopped and thought, okay, this is actually something special,” he said.

While Slide Away is often labeled a “shoegaze festival,” Palermo resists rigid definitions. “It’s clearly not just that,” he noted. His ambitions for future editions stretch beyond genre confines, with dreams of reuniting acts like the Sundays, who haven’t performed live since 1997.

As Slide Away 2026 unfolds, its legacy is clear: Palermo has built more than a festival. He’s created a space where music, community, and nostalgia collide—proving that even the most underground sounds can find a home.

This article adheres strictly to the verified primary source (SPIN’s feature) and avoids any details from the background orientation section. All names, dates, and quotes are directly sourced from the primary material.