Bowery Boston presents
Doors: 7:00 pm / Show: 8:00 pm
This event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.
Tickets on sale Fri. 9/29 at 10AM!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
2003 gave birth to one of the most extraordinary and best loved rock bands. The Darkness released their debut album Permission To Land to overnight success, topping the UK charts, going 5x Platinum and selling over 1.5 milion copies in the UK alone. It spawned a series of hit singles including “I Believe In A Thing Called Love,” “Growing On Me,” “Get Your Hands Off My Woman” and “Love Is Only A Feeling.” The album clocked up a series of awards including three BRIT Awards, two Kerrang Awards and an Ivor Novello for Songwriters Of The Year, amongst many others.
The Darkness played a number of landmark shows, including a headline set at the 2004 Reading and Leeds Festivals, as part of a whirlwind career of global touring as international sensations. The band then built upon the success of their debut with their 2005 follow up One Way Ticket To Hell… And Back, which produced the Top 10 hit “One Way Ticket.”
In 2006 Justin Hawkins left the band, checking into rehab and The Darkness fell apart. Following successful treatment, the band reformed in 2011 touring Europe and South America in 2012 with Lady Gaga. The band released their comeback album Hot Cakes that year and Last Of Our Kind in 2015.
In 2016 “I Believe In A Thing Called Love” was featured in a wildly popular Apple Music commercial starring Taylor Swift.
The Darkness have now returned in 2017 with Pinewood Smile, delivering some of the most sharp-witted, infectious, humorous and downright brilliant songs of their career.
Ahead of the album’s announcement, The Darkness toured Europe in support of Guns N’ Roses.
Addressing Pinewood Smile and The Darkness’ undoubted relevance in 2017, Justin Hawkins asks, somewhat rhetorically of the world at large, “Why should anybody care? Because if you don’t, we’re fucked!! History will remember us as the apathetic generation who negligently ushered in a dreadful dystopian age that may or may not come to be known as The Rise of the Arseclowns. We cannot allow this to continue! You may not give a shit about Brexit or Trump, but PLEASE… give a shit about The Darkness otherwise the last bastion of cultural sensibility will fall and our airwaves will be polluted by meaningless pop purveyed by arseholes and morons… Oh wait!”
The gravitational pull of Diarrhea Planet is strong; once you get caught in the orbit of its stadium-sized riffs and blistering solos, it’s hard to escape. The Nashville six-piece has been melting faces since its debut 7” Aloha first started making waves outside the leafy campus of Belmont University, where its members first met. What started as a dorm room dick joke between two friends bored by the music-business ladder-climbing of their classmates has grown into one of the biggest—and loudest—rock acts to come out of Nashville since their big bros and labelmates in JEFF The Brotherhood. As they toured the country behind their critically acclaimed 2013 LP I’m Rich Beyond Your Wildest Dreams, the likes of Billboard, Rolling Stone, SPIN, and even BuzzFeed have taken notice. Ignore them at your own peril.
On their latest LP for Infinity Cat Recordings, Turn to Gold, the Planet boys worked with Vance Powell, the Grammy-winning engineer and Jack White confidant. Powell used his expertise in recording live sound to capture some of the energy of the Diarrhea Planet live experience—they tracked the main guitar and drum tracks live, in the same room, for a record that’s both massive and frenetic. It’s easily the most sophisticated and complex music they’ve ever made, but still carries the joyous irreverence that minted thousands of RAWK fans across the country.
The band’s rhythm section, which features drummer Ian Bush (a.k.a. Tuff Gus) and bassist Mike Boyle, is the bedrock on which the foundation is built, but what makes Diarrhea Planet explode is the raw power of its four guitars. Not one note is wasted, and each ax slinger plays a role; Jordan Smith writes soaring power pop singalong hooks; Brent Toler brings a classic rock sensibility and chunky, fuzzy riffs; Emmett Miller’s wields classical training and a wizard-like five-finger pick-less technique for mind-bending, finger-tapping solos; and Evan Bird is the glue that holds them all together, capable of playing any part (or instrument) as needed.
Diarrhea Planet is a nationally touring band, playing a punishing schedule of more than 200 shows a year. But they cut their teeth in the clubs and house shows of the Nashville DIY scene, built by the likes of JEFF, Heavy Cream, Natural Child, Pujol, and shaped in legendary spaces like the old police precinct that would come to be known as Glenn Danzig’s House. As they’ve graduated from living rooms to clubs to festivals, the energy has remained constant—just ask the ladies in the mosh pit or the crowdsurfing dads you’re sure to find at any Diarrhea Planet show. They’re carrying the torch for the past, present and future of rock, and you’d be wise to take notice—everyone else sure has.