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DTSTART;TZID=America/New_York:20151103T193000
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SUMMARY:Deafheaven
DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nDeafheaven is an American metal band that formed in 2010. The San Francisco-based group began as a two-piece with George Clarke and Kerry McCoy who recorded and self-released a demo album together. After a warm reception\, Deafheaven recruited three new members and began to tour. Before the close of 2010\, the band signed to Deathwish Inc. and later released their debut album Roads to Judah in April 2011. A follow-up album\,Sunbather\, was released in 2013.
URL:https://royaleboston.com/event/deafheaven/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151104T190000
DTEND;TZID=America/New_York:20151104T190000
DTSTAMP:20260408T020448
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SUMMARY:RAC
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nPresented by Radio 92.9 \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nRAC is taking things one song at a time. Recently finished his last album cycle with a pair of triumphant appearances at Coachella Valley Music Festival in April\, the multi instrumentalist will continue to give fans new music. André Allen Anjos will kick off the single series with ”Back of the Car\,” his euphoric guitar driven collaboration with long time friend\, Nate Henricks. Anjos is not only looking forward to releasing new music more frequently\, but he is also using the series as an opportunity to work with vocalists he has never worked with before\, and to work in genres he has yet to explore.\nRAC first gained attention for smart remixes of songs by Yeah Yeah Yeahs (“Zero”) and the Shins (“Sleeping Lessons”)\, but Anjos quickly proved himself as a songwriter in his own right with hit singles like “Hollywood” and “Let Go\,” and this single series stands to be his most ambi-tious undertaking yet.
URL:https://royaleboston.com/event/rac/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTSTART;TZID=America/New_York:20151105T200000
DTEND;TZID=America/New_York:20151105T200000
DTSTAMP:20260408T020448
CREATED:20150910T020322Z
LAST-MODIFIED:20150910T020322Z
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SUMMARY:Nathaniel Rateliff & The Night Sweats
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nNewport Folk presents. \n*** \nNathaniel Rateliff & the Night Sweats practically explodes with deep\, primal and ecstatic soulfulness. This stunning work isn’t just soul stirring\, it’s also soul baring\, and the combination is absolutely devastating to behold. You don’t just listen to this record—you experience it. So it’s entirely fitting that the self-titled album will bear the iconic logo of Stax Records\, because at certain moments Rateliff seems to be channeling soul greats like Otis Redding and Sam & Dave. But as this gifted multi-instrumentalist honors the legacy of the legendary Memphis label\, he’s also setting out into audacious new territory. \nThose who were beguiled by In Memory of Loss\, Rateliff’s folky\, bittersweet 2010 Rounder album\, will be in for an initial shock when they spin Nathaniel Rateliff & The Night Sweats. But when you delve beneath the rawboned surface of the new album’s wall-rattling presentation\, with its deep-gut grooves\, snaky guitars\, churning Hammond and irresistible horns\, you’ll find that same sensitive\, introspective dude\, who bravely tells it like it is\, breaking through his reticence to expose often harsh truths about the life he’s lived\, the people he’s hurt and the despair he’s struggled with. The difference between the two albums is that the Nights Sweats’ funkiness insulates the starkly confessional nature of Rateliff’s songs while at the same time underscoring their emotional extremes. \nThe place where Rateliff is coming from is intensely real and intimate. Doing what he does is an act of bravery. “These songs are about the struggles I’ve had in my life—drinking too much\, that kind of crap\,” he says with characteristic candor\, punctuating the admission with a rueful laugh. “And then the relationships we all have. I’m not a great communicator in my personal life\, so it’s funny to be writing songs that say the things that I’m never very good at saying. It’s taken me a long time to figure that out. I’m trying to be a better communicator\, but it’s horribly awkward—it’s awful—to tell somebody something you know is gonna hurt their feelings. I’ve always been one to go\, oh\, I’ll just eat this one; it’ll be okay.” \nAs the band blazes away on the soul-rock rave-up “I Need Never Get Old\,” the visceral “Howling at Nothing” and the supercharged “Trying So Hard Not to Know” (key line: “Who gives a damn and very few can”)\, which open the album with a sustained outpouring of torrid intensity\, Rateliff is opening himself up emotionally as well as physically\, the raw grit in his voice conveying anguish and hope in equal measure. The buoyant immediacy of the music makes the hard truths embedded in the songs easier to swallow than it would be in Rateliff’s other primary mode—a solitary guy with a guitar\, the brim of his baseball cap pulled down\, putting his heart and guts on the line without the protection of his simpatico cohorts. Make no mistake\, these songs would stop you in their tracks presented in that naked way as well\, but the additional layers of soulfulness provided by the Night Sweats—its core comprising guitarist Joseph Pope III\, drummer Patrick Meese and keyboardist Mark Shusterman—bring a convergence of intensities\, musical and psychological\, to the performances. \n“S.O.B.” sits at the dead center of the album\, between the brutally honest confessionals “I’ve Been Failing” and “Wasted Time.” Thematically\, the song is the album’s linchpin—partly a rebuke\, partly a cry of defiance\, “S.O.B” is the “fuck it all” anthem of a blue-collar kid from the Heartland whose conditioned idea of therapy is a shot and a beer chaser\, and then another round\, on the way to sweet oblivion. In live performance\, Rateliff and the Sweats have been known to mash together “S.O.B.” and The Band’s “The Shape I’m In” as the double-barreled climax of their sets (you can find it on YouTube)\, the frontman high-stepping and boogalooing across the stage with controlled abandon\, bearing a striking resemblance in his physicality to the young Van Morrison. These moments of revelry are also revelatory\, singling out two of Rateliff’s biggest influences. Indeed\, he hears distinct evocations of The Band on his new album\, and he was listening to “TB Sheets” and the rest of Morrison’s The Bang Masters as he was writing it. \nFrom there Rateliff contemplates some of the sustaining aspects of existence\, from redemption by way of the forgiving love of another in “Thank You\,” “Look It Here” and “I’d Be Waiting” to sexual heat in the N’awlins-style strutter “Shake.” The album ends on a hopeful note with the relatively laidback “Mellow Out\,” which could certainly be heard as Rateliff admonishing himself to do just that. “Originally\, I had it ending with a song called ‘How to Make Friends\,'” he says. “The chorus is ‘When everybody knows you\, nobody’s gonna want you.'” Another laugh follows\, this one self-mocking. “But I replaced it with ‘Mellow Out\,’ which is more of a release rather than a total bummer.” \nWhen it came time to pick a producer\, Rateliff went with Richard Swift\, a polymath who has made records under his own name\, helmed projects for Damien Jurado\, the Mynabirds and others\, and has played with The Black Keys and the Shins. Swift’s specialty is summoning (and capturing) inspired performances in the moment\, and the synergy in the studio\, first with Rateliff and then with his band\, was instant and palpable. Rateliff and the Sweats already had the arrangements of the new songs down cold\, having shaped them on the road. Swift\, knowing a good thing when he heard it\, set the mics\, honed the sound\, giving it plenty of space so that the studio itself served as an integral sonic component. Then he pressed “record” and coaxed it into happening organically. “Richard has such great ears\, and he really knows how to play to the room\,” Rateliff notes. “We have similar theories of recording: basically\, you just need to play it right.” \nRateliff\, who’s 36\, traveled a long road to get to this point. He left school after his dad passed away at the end of 7th grade\, left his home in the small town of Herman\, Missouri\, where his future would’ve likely involved endless shifts in a nearby plastic factory; and worked as a janitor for a high school. Not long afterward\, he followed some local missionaries to Denver\, thereby escaping what he describes as “the Midwestern lifestyle of working and growing up too fast.” He soon outgrew his childhood understanding of religion\, realizing that “there are so many books out there besides that one\,” as his worldview expanded exponentially. Rateliff spent the next 10 years on the loading dock of a trucking company before becoming a gardener and getting married along the way. But as the years passed\, he became increasingly focused on writing songs and performing them at any watering hole that would have him\, in time becoming part of the city’s burgeoning folk scene. “I got kind of a late start making music\,” he says\, “but eventually I went out on the road\,” first with Born in the Flood\, which he’d formed with Pope\, and then The Wheel\, the forerunner of the Night Sweats. By then\, he’d overcome his longstanding discomfort at playing his songs in public. \n“Writing at home is one of my favorite things to do\,” says this constitutionally solitary man. “But for years touring was really hard for me—being alone\, being married and having my relationship run through the mire\, because a lot of my songs are about that. Sometimes it sucks to sing those songs and have to relive those situations. It leaves you pretty exposed\, and your partner too; it can be unfair. But now I love being on stage and cracking jokes\, trying not to take myself too seriously\, even if the material is about failed relationships and alcoholism\, that kind of stuff”—there’s that rueful laugh again. \n“I try to be lighthearted\,” Rateliff continues\, “because\, although the songs are heavy\, I want it to be a release for people. I’m trying to do something that’s emotionally charged and heartfelt\, and I want the experience to be joyous\, for people to feel excited and dance around instead of being super-bummed by reality—I mean\, things are hard. But I can remember dancing around to some song that was breakin’ my heart\, dancin’ with tears in my eyes. I love that feeling\, and I wanna share it with people\, and hopefully they’ll feel it too.” \n—Bud Scoppa
URL:https://royaleboston.com/event/nathaniel-rateliff-the-night-sweats/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151106T190000
DTEND;TZID=America/New_York:20151106T190000
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SUMMARY:Nathan For You - Sneak Peek And Q&A
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nHost Nathan Fielder appears live and in person to give you a sneak peak of the upcoming season of Nathan For You. The screening will be followed by a Q&A discussion that will include several off-the-cuff jokes by Fielder\, who’s a mediocre improviser.
URL:https://royaleboston.com/event/nathan-for-you-sneak-peek-and-qa/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151107T180000
DTEND;TZID=America/New_York:20151107T180000
DTSTAMP:20260408T020448
CREATED:20150910T020657Z
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SUMMARY:Wild Child
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \nNote: Unfortunately due to immigration issues\, Royal Canoe will no longer be on this bill. \n*** \nWild Child doesn’t want a place to hide. Song after song\, town after town\, they’ll wear their hearts on their sleeves\, addicted to the rush that only comes when thousands of strangers know all your secrets and sing them back to you\, because they’re their secrets\, too.  \n“It’s not necessarily the performing that’s addictive\, but being able to connect with that many people at once\,” says Kelsey Wilson\, who shares lead vocal and songwriting responsibilities for the Austin-based seven-piece band with Alexander Beggins. “You feel like you’re together in something––like you experience the whole thing together. It’s family therapy with a lot of dancing.” \nWild Child’s third album Fools (out via Dualtone Records) is an ambitious collection of lush pop that takes sad stories and transforms them into an ebullient love letter to the power of music and the art of living with yourself.  \nMade up of Kelsey on violin and vocals\, Alexander on ukulele and vocals\, Evan Magers on keyboards\, Sadie Wolfe on cello\, Chris D’Annunzio on bass\, Drew Brunetti on drums\, and Matt Bradshaw on trumpet\, Wild Child has built a sprawling grassroots following on the strength of high-spirited live shows that feel like self-contained joy benders\, along with two precocious albums.  \n2011’s Pillow Talk notched four no. 1 singles on indie pulse monitor Hype Machine\, spurred on by music bloggers who fell early and hard for the quirky group. 2013’s The Runaround upped the ante\, making best-of lists and garnering glowing reviews and write-ups from NPR\, Paste\, Pop Matters\, and many others. Then Wild Child hit TV\, performing on the Late Late Show with Craig Ferguson and serving as the featured artists on CBS Saturday Morning. Since forming five years ago after Kelsey and Alexander met during a stint as members of a backup band for a Danish artist’s U.S. tour\, Wild Child has gone from playing shows for nine people to selling out venues across North America and Europe.  \nNot bad for an indie outfit who\, up until now\, has been thriving without radio spins or record label muscle. And it all started when two Texas kids too scared to sing for crowds discovered they wrote hauntingly good songs together. \nWild Child recorded Fools at Doll House Studios in Savannah\, Georgia. Produced by Peter Mavrogeorgis and David Plakon with additional tracks helmed by red-letter guest producers Max Frost (“Break Bones”) and Chris “Frenchie” Smith (“Trillo Talk”)\, Fools reveals that while Austin’s favorite gang of lost boys and girls have grown up to become fiercely skilled musicians who have charmed the world\, their faces remain grinning and often painted\, spirits stubborn and free\, barbs sharp and cathartic.  \nWhile writing for the album\, Kelsey split from her fiancé of five years\, then watched as her parents divorced. “It was the first time that I’d ever had writer’s block\,” she remembers. “Then Bobby and I separated. Within a week\, all of the lyrics just came out.”  \n“She used this album as a platform to say a lot of things she wanted to say\,” Alexander says. “It’s a story that’s not exactly linear\, but you hear someone going through something.” \nKelsey and Alexander co-wrote all of the record’s songs\, while the title track was penned by the entire band––a first for the group. A complexly layered\, funky gem\, “Fools” saunters as Kelsey and Alexander sigh\, “If you have to go / I’ll play the fool\,” a sly acknowledgement that no matter what else is going on in the relationship\, it’d be easier to hold on than to let it fall apart. \nThe act of consciously playing the fool shows up repeatedly throughout the record\, and Wild Child flaunts a postmodern comfort with perspective’s slippery grip on truth. “The Cracks” pulses with uncertainty as Kelsey delicately cries\, “You went too far\, went way too far / We went too far\, went way too far\,” while in “Bullets\,” she croons\, “I know you think I took a lot from you.” “Meadows” asks a lover how much they’re willing to sacrifice\, while “Take It” and “Reno” tackle separation and trust. \nThe sole purely exuberant note on the album\, “Bad Girl” is a Motown-inspired celebration of the birth of Kelsey’s first niece. “Oklahoma\,” a harmony-soaked strings showcase that kicks off with an electro-pop tease\, was slated for The Runaround but didn’t quite fit until Fools. Originally intended for Pillow Talk\, “Stones” was mined from lyrics Kelsey penned when she was 15 years old. Now\, it’s part bubbly piano-man ramble\, part sweeping string-led drama\, capped off by a brassy New Orleans breakdown––a perfect example of the band’s increasingly virtuosic ability to stretch and crisply fold genres into their ever-expanding repertoire.  \n“Break Bones” is a stunner––a big\, bold\, beautiful pop song praying a fight continues indefinitely\, because that’s all that’s left. “Trillo Talk\,” a last minute addition to the record and an ideal closer\, winks to fan favorites “Pillow Talk” and “RilloTalk” and soars triumphantly. “It’s the last thought––everything is going to be okay…but it’s not. But\, it feels alright\,” Alexander says.  \nVocally\, Alexander strolls\, steady and wry\, as Kelsey skips\, runs\, and hops\, all whirly energy and instinctive phrasing. “I think my voice just sits nice underneath hers\,” Alexander says\, simply and accurately. “The two of us never really intended to be singers and still don’t really consider ourselves singers\,” says Kelsey\, without a hint of irony. NPR’s Ann Powers likened her voice to that of a “Jazz Age Broadway baby\,” but bring up that and other praise\, and Kelsey just laughs and emphasizes\, “I don’t think of myself as a singer. I think of it just like talking. We’re just having a conversation.”  \nIn their musical repartee\, Wild Child doesn’t pull punches. Their songs sting as they groove\, cutting lyrics massaged by cooing vocals and bouncy ukulele. So we’re dancing and laughing before we realize we’ve got tears in our eyes\, entranced by Wild Child’s dizzying contradiction: sour truths that sound so sweet. \n“The instruments may belong in a granola commercial\, but what we’re saying is often dark and angry and bitter\,” says Kelsey. “It wasn’t until Alexander and I started writing music together that we were like\, ‘Damn. Are we sad?’” \n“There is a beauty in lyric writing that is almost too honest\,” Alexander says. “We’ve always tried to poke holes in that terrible thing that nobody really wants to think about.” \nFools is an unashamed breakup album\, but it’s more than last rites for lovers. The record also bids farewell to the traditional lives Kelsey and Alexander had thought lie in store.  \n“We’re about to live day to day for a long time\, and our relationships are going to fall apart\,” Kelsey says. “Our home lives are going to fall apart. And there’s nothing we can do about it. So\, the record is also about letting go of expectations\, just playing the fool. Fools is a release––a blind step out.”
URL:https://royaleboston.com/event/wild-child/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151108T200000
DTEND;TZID=America/New_York:20151108T200000
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SUMMARY:Django Django [MOVED TO MIDDLE EAST DOWNSTAIRS]
DESCRIPTION:NOTE: THIS SHOW HAS BEEN MOVED FROM ROYALE TO THE MIDDLE EAST DOWNSTAIRS. ALL TICKETS HONORED. \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nWERS 88.9 Discovery Show \n*** \nIt was when Django Django were playing Edinburgh’s Hogmanay celebrations on the final day of 2013 that producer and drummer Dave Maclean realised how far his band had come since releasing their self-titled debut album almost two years earlier. \n“We made what\, at the time\, I thought would be an obscure bedroom record and ended up playing to 60\,000 people on Princes Street\,” says Dave. “Every month we kept saying we were going to stop touring but the album kept growing.” \nBorn Under Saturn is the work of a band fired up by confidence and experience and propelled way beyond their humble DIY roots. It has all of the giddy art-rock imagination of the debut but splashed across a larger canvas. “Once we got into the studio it became obvious it would be a bigger-sounding record\,” says bassist Jim Dixon. \n“When we were writing the lyrics there were lots of references to rebirth\, turning a new page and starting something again\,” says Dave. “I guess that’s something we all felt.” \nDjango Django — Dave\, Jim\, guitarist Vinnie Neff and keyboardist Tommy Grace — met at art school in Edinburgh and released their first single\, after moving to east London\, in 2009. They took their time evolving a uniquely open-minded sound in which every influence is welcome but nothing sounds cluttered of forced. “We don’t stop ourselves going in any direction because we’ve all got very individual styles so it always ends up sounding like us\,” says Vinnie. \nTheir debut album came out in January 2012 on Because Music and was lavished with praise. It was “updated psychedelia that beguiles and delights” (The Guardian)\, “consistently mind-melting and often brilliant” (Q)\, “bursting with ideas” (Pitchfork) and “gloriously\, unpredictably new” (Mojo). By December it had been shortlisted for the Mercury Prize and named one of the albums of the year by Rolling Stone and NME. \nDjango Django kept meaning to come off the road and get back in the studio but the album’s popularity kept growing. They played around the world\, performing memorable shows at such essential festivals as Glastonbury and Fuji Rock. They appeared on TV shows worldwide\, including one curious French affair where they were forced to dance with Wicked Game singer Chris Isaak. They had a ball. \n“It surprised me how totally varied one audience would be\,” says Dave. “Young kids next to 60s heads who were into Pink Floyd. Two generations of a family would come out. I’ve never known such a bizarre cross-section of society.” \nThey also embraced other creative opportunities. Dave travelled to Mali with Damon Albarn’s Africa Express\, part of a 20-strong contingent including Brian Eno\, Nick Zinner of the Yeah Yeah Yeahs and actor Idris Elba. The band subsequently appeared at an Africa Express show in Marseille\, performing Skies Over Cairo with local rapper Malikah\, and worked on the new album’s opening song Giant during a jam with African musicians at Albarn’s London studio. \nDave and Tommy worked on the score for the Royal Shakespeare Company’s production of John Webster’s bloodthirsty Jacobean tragedy The White Devil. “It’s a full-on play\,” says Tommy\, eyes widening. “There’s only about 10% of the cast standing at the end.” Dave established his own label\, Kick and Clap\, named after the club night he launched when he first moved to Dalston. “It’s my personal idea of dancefloor music – not just house and techno but weirder stuff as well\,” he says. And Vinnie and Jim collaborated with award-winning artist Haroon Mirza at Stromboli arts festival last summer\, at the foot of the island’s volcano. \nAfter all this activity they were hungry to make album number two. “We built up momentum more than expectation\,” says Dave. “We were keen to get back to making music. Going from a lo-fi bedroom record\, sitting in your flat in your pjyamas\, to playing to huge crowds\, you learn a lot.” \nBorn Under Saturn was recorded at Netil House in east London and Angelic in Banbury\, where the band had an entertaining night involving moonshine\, a ouija board and what appeared to be a piano-playing poltergeist. \nLike before\, Django Django are blessedly oblivious to genre rules. You’ll find Beach Boys harmonies and Link Wray riffs crisscrossing with house music pianos\, classical keyboard flourishes with Jamaican and African rhythms\, and all of it flows. It’s the same dot-joining intelligence that made Dave’s instalment of the Late Night Tales compilation series\, mixing Canned Heat and The Millennium with Outkast and TNGHT\, so enjoyable. \n“A lot of it has to do with growing up being more into mixtapes than albums\,” he says. “I think that sensibility comes through. Since I was a kid I’ve always tried to see the connections and threads through music.” \nUnlike the debut\, which was largely written by Dave and Vinnie\, the songwriting was split four ways. Songs evolved from fragments of ideas recorded on mobile phones\, or flashes of brilliance during informal jams. Over time\, the most promising seeds sprouted into full-blown songs\, which would be teased apart and rebuilt by Dave in his producer role. “Growing up\, I was into the Beatles and the Beach Boys\,” he says. “This idea of 60s psych that was also really approachable pop music. That balance has always interested me. I love it when weird records become pop.” \nLyrics often emerged naturally from the sound of the music. Giant\, for example\, was so titled because its sound suggested a goliath’s pounding footsteps and Shake and Tremble’s rockabilly rumble suggested earthquakes. There are dark dramas like Found You\, which draws on the myth of Faust’s deal with the devil\, and Shot Down\, a bloody tale of crime and betrayal. Jim wrote the sighingly beautiful Beginning to Fade while contemplating writer’s block. The atmospheric\, synth-driven High Moon\, says Dave\, is about people who “come alive at night”. In Django Django’s songs the real is always merging with the fantastical and everyday emotions take strange and exciting forms. \nBorn Under Saturn expands on the slippery\, undefinable brilliance of the debut\, finding magic in the unexplored spaces between different kinds of music\, and never doing the same thing twice. \n“We thought we’d sell to little pockets of people and set up our own live shows in art spaces\,” says Dave. “We never thought it would end up the way it did. Once that happens\, you have to keep pushing. You can’t sit still.”
URL:https://royaleboston.com/event/django-django/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/09/Django-US-RGB-version___.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151110T193000
DTEND;TZID=America/New_York:20151110T193000
DTSTAMP:20260408T020448
CREATED:20150910T022640Z
LAST-MODIFIED:20150910T022640Z
UID:10001867-1447183800-1447183800@royaleboston.com
SUMMARY:Allen Stone
DESCRIPTION:Doors: 7:30 pm / Show: 8:15 pm \nThis event is 18 and over. Patrons under 18 are permitted if accompanied by a parent or legal guardian. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nOn his third full-length album\, singer/songwriter Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. Stone’s debut for Capitol Records\, Radius marks the follow-up to the Chewelah\, Washington-bred 28-year-old’s self-released and self-titled sophomore effort\, a 2011 album that climbed to the top 10 on Billboard’s Heatseekers chart and gained acclaim from renowned rock critic Ann Powers (whose NPR review hailed Allen Stone as “meant for those of us who like our R&B slightly unkempt and exceedingly feelingful”). Made in collaboration with Swedish soul singer/songwriter/phenom Magnus Tingsek\, Stone’s latest batch of songs capture the warm energy of that creative connection and transport the listener to a higher and more exalted plane.  \nCulled from several dozen songs penned through a year and a half of constant writing and refining\, Radius bears a title that reflects both its scope and intimacy. “The radius is that line extending from the center of the circle to its exterior\,” says Stone\, “and in a lot of ways this album is about getting out things deep inside—whether it’s love or insecurity or joy or frustration about things going on today.” Along with immersing himself in a songwriting approach that involved unflinching examination of “some very dark and negative moments in my life\,” Stone shaped the sound and feel of Radius by pushing himself to “get past the boundaries of what I felt comfortable with\, so that I could progress into a whole new level of creativity.” Despite that sometimes-daunting process\, Radius wholly reveals Stone’s easy grace in blending everything from edgy soul-pop and earthy folk-rock to throwback R&B and Parliament-inspired funk. \nRadius first began to come to life back in the fall of 2013\, when Stone headed to Sweden to join in a writing session with Tingsek. “His musicality is so outside-the-box\, and it really stretched me as an artist\,” says Stone\, who’d tapped Tingsek as one of his opening acts for an 85-date headlining tour in 2012. “We just kept on throwing a wrench into the works and tried to create something that’s the complete antithesis of what you’d expect from pop music.” After recording the bulk of the album in Sweden\, Stone rounded out Radius’s production at his own studio in the woods of northeast Washington and in L.A.-based sessions with producers like Benny Cassette (who’s previously worked with Kanye West) and Malay (a co-producer on Frank Ocean’s channel ORANGE).  \nLike many of his own musical heroes—Stevie Wonder chief among them—Stone pulls off the near-magical feat of channeling a weight-of-the-world sensitivity into his songs while still radiating hope and promise. And though that depth of consciousness feels transmitted from a more golden era\, Radius continually hones in on issues both timeless and of-the-moment\, with Stone’s breezily poetic lyrics touching on topics ranging from rampant materialism (on the tenderly string-accented\, harmony-soaked “American Privilege”) and the toxic takeover of technology in art (on the gutsy and groove-heavy “Fake Future”). “That song’s mainly about how technology’s infiltrating music in a way that’s making it less and less human and taking all the heart out of it\,” Stone says of the latter track\, a soul-pop powerhouse peppered with playfully cutting lines like “Rock stars pushing buttons/Few actually play/City wasn’t ever built on lights and Special K.” And as evidenced by Radius’s lush yet raw sonic landscape—wherein the only hint of synth comes from a Moog analog synthesizer—Stone stayed true to his pledge to “keep fakeness completely out of this record” and rely entirely on live instrumentation.  \nEqually introspective and outwardly searching\, Radius also finds Stone exploring intensely personal matters\, such as depression on the stark and lovely\, acoustic-guitar-woven ballad\n“Circle” (“That one was written at a pretty dark time for me\,” Stone points out. “It’s about how depression can put you into a kind of circle\, where you’re just trying to find a way out but it keeps on leading you back inside”). Showing his skill at crafting a killer love song as well\, Stone looks at heartbreak and regret on the aching\, electric-piano-infused “I Know That I Wasn’t Right\,” slips into hopeless romanticism on the dreamy R&B pastiche “Barbwire\,” and unleashes some starry-eyed affection on the dancefloor-ready “Symmetrical” (a sample lyric: “The angle of your spine/Is sending lightning bolts down mine/When those molecules combine/It’s astronomically divine”). And in tracks like the ultra-catchy album-opener “Perfect World” and the fiery\, horn-laced “Freedom\,” Radius unfolds into epically joyful anthems that show the full range and power of Stone’s vocals.  \nStone started working those vocals as a kid\, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church\, watching my mom and dad sing together and lead the congregation in song\,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song\, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in bible college after high school\, he quickly dropped out to move to Seattle and kickstart his music career. “I had an ’87 Buick and I’d drive up and down the west coast\, playing any gig I could get just to try to put my music out there\,” he says.  \nAt age 22\, Stone self-released his debut album\, 2010’s Last To Speak. But it was his self-titled follow-up (on which he joined forces with former Miles Davis keyboardist Deron Johnson) that ended up earning him serious recognition. Along with entering the top five on iTunes’ R&B/Soul chart after its digital release\, Allen Stone prompted him to score appearances on such late-night talk shows like Conan and grace the pages of publications like the New York Times (whose chief popular-music critic Jon Pareles praised Stone for possessing “a tenor voice with the eagerness and frisky syncopations of [Stevie] Wonder”). And upon partnering with ATO Records for a physical release of his self-titled album in 2012\, Stone soon turned up on the likes of the Late Show with David Letterman and landed a gig as the opening act for soul legend Al Green. In the midst of all the buzz\, he also took up a grueling touring schedule\, tearing through nearly 600 shows in just two years.  \nFor Stone\, all that time onstage went a long way in preparing him for the many creative breakthroughs he’s made on Radius. “I think you really grow as a musician when you’re playing right in front of people\, and for me constantly growing and progressing and getting better is really the most important thing\,” he says. Ruminating on the emotional undertones of his new album’s title and noting that “the center of me is my heart\,” Stone says he also hopes that Radius will ultimately help listeners shed new light on their own struggles. “There’ve been times in my life when records were my saving grace and really helped me to figure out who I am\, and I’d love for my music to have that kind of impact on a kid who’s looking for his or her own place in this life\,” he says. “Because I absolutely believe that if you’re going to stand at a microphone and say something\, you need to recognize that as a privilege. You’ve got to be incredibly careful about it\, and really put all your heart into the message that you’re sending out into the world.”
URL:https://royaleboston.com/event/allen-stone/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/09/allenstonewsupport.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151112T190000
DTEND;TZID=America/New_York:20151112T190000
DTSTAMP:20260408T020448
CREATED:20151020T000404Z
LAST-MODIFIED:20151020T000404Z
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SUMMARY:Shakey Graves
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nNewport Folk presents.\nDie Hard Tour \n*** \n“The first album was me wanting to burn down my life\, cut my hair off\, and run screaming into the woods\,” says Alejandro Rose-Garcia. “This album is the trials and tribulations of becoming domesticated\, letting people into your world and letting go of selfishness—the story of becoming a pair\, losing that\, and reconciling with the loss and gain of love.” \nRose-Garcia is professionally known as Shakey Graves\, and with his new record\, And the War Came\, he extends the ground—emotionally and sonically—broken by his 2011 self-released debut album\, Roll the Bones\, which brought him national acclaim and\, three years later\, still ranks near the top of Bandcamp’s digital best-seller charts. \nRoll the Bones established the powerful\, mesmerizing Shakey Graves sound of Rose-Garcia accompanying himself on guitar and a handmade kick drum built out of an old suitcase. NPR Music named him one of 10 artists music fans “should’ve known in 2012\,” describing him as “astonishing…unclassifiably original. And frighteningly good.” Paste included him in a “Best of What’s Next” feature\, praising his “gnarly composite of blues and folk\,” while The New York Times observed that Shakey Graves “makes the one-man band approach look effortless.” \nBut while this distinctive arrangement continued to earn him an ever-expanding fan base on the road\, Rose-Garcia knew that he wanted the follow-up to achieve something different. “With the first album\, I didn’t have any expectations except my own\,” he says. “This time\, I was making something people were going to listen to out of the gate. I tried to maintain everything I enjoy about recording\, the weird homemade aspect\, but I was seeking a new\, shining sound quality. The concepts for the songs are a little bigger. This is not the ‘Mr\, Folk\, Hobo Mountain’ album—it’s more of the Cyborg Shakey Graves. It’s definitely the next step in the staircase.” \nAn experienced actor who had a recurring role on Friday Night Lights and appeared in several of Robert Rodriguez films\, Rose-Garcia started making music as part of New York City’s “anti-folk” scene. While knocking around the underground music community in Los Angeles\, he saw a performance by one-man band Bob Log III that pointed his work in a new direction. Since returning to Austin\, Rose-Garcia has become so closely associated with his hometown that for the last three years\, Austin has celebrated “Shakey Graves Day” by mayoral proclamation. \nTo record And the War Came\, co-producer/collaborator Chris Boosahda brought all of his gear to Rose-Garcia’s house and converted the space into a big\, open studio. Though the signature Shakey Graves set-up remained the starting point\, other instrumentalists came in and multiple\, wildly different arrangements of the songs were attempted for what was initially planned as a double album. \nMost notably\, Rose-Garcia wrote and sings three of the album’s songs with Esme Patterson\, a solo artist and member of the Denver-based band Paper Bird. “We started out just having fun and writing\, and then that turned into some of my favorite songs on the album\,” he says. “We actually wrote ‘Dearly Departed’ on Halloween as a tongue-in-cheek\, haunted house sex joke\, and then we played it that night and people went bonkers. Esme and I write so similarly it kinda freaked us out\, and I really learned the power of writing music with someone you get along with.” \nSoon enough\, Rose-Garcia found that the experience of making the record was being mirrored in the songs themselves. “I was letting go of that one-man everything\,” he says. “I did need people’s help\, and my control freak nature had to subside a bit. It meant learning collaboration\, but also knowing when to stick to my guns—all of that was the experience of this year\, and the songs were some of the more genuine experiences; some of them even became sort of prophetic.” \n“Only Son\,” a meditation on solitude (“I used to be an only son/My heart was like a stranger”)\, became the opening track and “thesis statement” for And the War Came. “Hard Wired” is not\, as it may first appear\, about a relationship falling apart\, but “about having friends with problems—watching a friend struggling and not doing anything about it.” \nThe themes of these ten songs\, explains Rose-Garcia\, return over and over to the idea of the “other.” “It’s not about any single person\, it’s about being that second\, other person. Even the title—I never thought about whether I was able to handle that aspect of things\, of having these relationships. And the War Came is a little bit of\, be careful what you wish for.” \nSongs like “The Perfect Parts” and “Family and Genus\,” meanwhile\, represent a very different sound for Shakey Graves. “Those have a lot more aggression\, they’re heavy and big\,” he says. “I’m a little worried because it is a new step out\, and people have gotten really precious about the stuff I’ve done—which is a huge compliment\, and a dream come true—but I’m interested in what a Shakey Graves song is to people.” \nAnother crucial influence on the direction of And the War Came has been Rose-Garcia’s lengthy and far-flung touring schedule (which has recently included stops at the Winnipeg and Newport Folk Festivals\, prior to a headlining run this fall). “I’m constantly flying places and moving at a fast rate\,” he says. “Imagining what it was like a year ago is almost incomprehensible to me now. I feel like I’ve almost seen too much this year—bands\, music\, places. And if that doesn’t affect you in certain ways\, then you’re doing it wrong.” \nWhile his remarkable success story continues to unfold\, Alejandro Rose-Garcia sees And the War Came as a pivotal step in the evolution of Shakey Graves. “This is a doorframe album\, as we’re going into a new building\,” he says. “It’s taste of everything—what might come in future\, which might include just guitar or the one-man band thing\, but not pigeonholed to any one sound. I wanted to open some stuff up and get people ready for wherever it’s going.”
URL:https://royaleboston.com/event/shakey-graves/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/10/SHAKEY-GRAVES-SEPS.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151113T180000
DTEND;TZID=America/New_York:20151113T180000
DTSTAMP:20260408T020448
CREATED:20151020T121907Z
LAST-MODIFIED:20151020T121907Z
UID:10001577-1447437600-1447437600@royaleboston.com
SUMMARY:Shakey Graves
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nNewport Folk presents.\nDie Hard Tour \n*** \n“The first album was me wanting to burn down my life\, cut my hair off\, and run screaming into the woods\,” says Alejandro Rose-Garcia. “This album is the trials and tribulations of becoming domesticated\, letting people into your world and letting go of selfishness—the story of becoming a pair\, losing that\, and reconciling with the loss and gain of love.” \nRose-Garcia is professionally known as Shakey Graves\, and with his new record\, And the War Came\, he extends the ground—emotionally and sonically—broken by his 2011 self-released debut album\, Roll the Bones\, which brought him national acclaim and\, three years later\, still ranks near the top of Bandcamp’s digital best-seller charts. \nRoll the Bones established the powerful\, mesmerizing Shakey Graves sound of Rose-Garcia accompanying himself on guitar and a handmade kick drum built out of an old suitcase. NPR Music named him one of 10 artists music fans “should’ve known in 2012\,” describing him as “astonishing…unclassifiably original. And frighteningly good.” Paste included him in a “Best of What’s Next” feature\, praising his “gnarly composite of blues and folk\,” while The New York Times observed that Shakey Graves “makes the one-man band approach look effortless.” \nBut while this distinctive arrangement continued to earn him an ever-expanding fan base on the road\, Rose-Garcia knew that he wanted the follow-up to achieve something different. “With the first album\, I didn’t have any expectations except my own\,” he says. “This time\, I was making something people were going to listen to out of the gate. I tried to maintain everything I enjoy about recording\, the weird homemade aspect\, but I was seeking a new\, shining sound quality. The concepts for the songs are a little bigger. This is not the ‘Mr\, Folk\, Hobo Mountain’ album—it’s more of the Cyborg Shakey Graves. It’s definitely the next step in the staircase.” \nAn experienced actor who had a recurring role on Friday Night Lights and appeared in several of Robert Rodriguez films\, Rose-Garcia started making music as part of New York City’s “anti-folk” scene. While knocking around the underground music community in Los Angeles\, he saw a performance by one-man band Bob Log III that pointed his work in a new direction. Since returning to Austin\, Rose-Garcia has become so closely associated with his hometown that for the last three years\, Austin has celebrated “Shakey Graves Day” by mayoral proclamation. \nTo record And the War Came\, co-producer/collaborator Chris Boosahda brought all of his gear to Rose-Garcia’s house and converted the space into a big\, open studio. Though the signature Shakey Graves set-up remained the starting point\, other instrumentalists came in and multiple\, wildly different arrangements of the songs were attempted for what was initially planned as a double album. \nMost notably\, Rose-Garcia wrote and sings three of the album’s songs with Esme Patterson\, a solo artist and member of the Denver-based band Paper Bird. “We started out just having fun and writing\, and then that turned into some of my favorite songs on the album\,” he says. “We actually wrote ‘Dearly Departed’ on Halloween as a tongue-in-cheek\, haunted house sex joke\, and then we played it that night and people went bonkers. Esme and I write so similarly it kinda freaked us out\, and I really learned the power of writing music with someone you get along with.” \nSoon enough\, Rose-Garcia found that the experience of making the record was being mirrored in the songs themselves. “I was letting go of that one-man everything\,” he says. “I did need people’s help\, and my control freak nature had to subside a bit. It meant learning collaboration\, but also knowing when to stick to my guns—all of that was the experience of this year\, and the songs were some of the more genuine experiences; some of them even became sort of prophetic.” \n“Only Son\,” a meditation on solitude (“I used to be an only son/My heart was like a stranger”)\, became the opening track and “thesis statement” for And the War Came. “Hard Wired” is not\, as it may first appear\, about a relationship falling apart\, but “about having friends with problems—watching a friend struggling and not doing anything about it.” \nThe themes of these ten songs\, explains Rose-Garcia\, return over and over to the idea of the “other.” “It’s not about any single person\, it’s about being that second\, other person. Even the title—I never thought about whether I was able to handle that aspect of things\, of having these relationships. And the War Came is a little bit of\, be careful what you wish for.” \nSongs like “The Perfect Parts” and “Family and Genus\,” meanwhile\, represent a very different sound for Shakey Graves. “Those have a lot more aggression\, they’re heavy and big\,” he says. “I’m a little worried because it is a new step out\, and people have gotten really precious about the stuff I’ve done—which is a huge compliment\, and a dream come true—but I’m interested in what a Shakey Graves song is to people.” \nAnother crucial influence on the direction of And the War Came has been Rose-Garcia’s lengthy and far-flung touring schedule (which has recently included stops at the Winnipeg and Newport Folk Festivals\, prior to a headlining run this fall). “I’m constantly flying places and moving at a fast rate\,” he says. “Imagining what it was like a year ago is almost incomprehensible to me now. I feel like I’ve almost seen too much this year—bands\, music\, places. And if that doesn’t affect you in certain ways\, then you’re doing it wrong.” \nWhile his remarkable success story continues to unfold\, Alejandro Rose-Garcia sees And the War Came as a pivotal step in the evolution of Shakey Graves. “This is a doorframe album\, as we’re going into a new building\,” he says. “It’s taste of everything—what might come in future\, which might include just guitar or the one-man band thing\, but not pigeonholed to any one sound. I wanted to open some stuff up and get people ready for wherever it’s going.”
URL:https://royaleboston.com/event/shakey-graves-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/10/SHAKEY-GRAVES-SEPS.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151118T183000
DTEND;TZID=America/New_York:20151118T183000
DTSTAMP:20260408T020448
CREATED:20151019T230314Z
LAST-MODIFIED:20151019T230314Z
UID:10001575-1447871400-1447871400@royaleboston.com
SUMMARY:Knuckle Puck
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.
URL:https://royaleboston.com/event/knuckle-puck/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151119T193000
DTEND;TZID=America/New_York:20151119T193000
DTSTAMP:20260408T020448
CREATED:20151020T122321Z
LAST-MODIFIED:20151020T122321Z
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SUMMARY:The Ballroom Thieves
DESCRIPTION:Newport Folk presents. \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nIn this increasingly virtual world of ours\, what makes music authentic? For some\, songs are no more than tiny sentimental decompressions. But others treat music as an extension of their roots\, a mirror of their travels and relationships\, and a testament to both their craft and passion. \nFor The Ballroom Thieves\, the band’s journey has only just begun\, but their roots already run quite deep. Now\, on A Wolf in the Doorway the Thieves find themselves taking the very idea of “roots” and creating ways to make its associated sound progress\, while making its encompassing spirit glow.\nStylistically\, the trio finds a captivating mélange of acoustic styles\, blending folk conventions with modern hymnals\, delta blues grit with rich harmonies\, exploring the basic constructions of pop music while almost wholeheartedly rejecting its restrictions at the same time. \n“Our own personal growth and explorations in songwriting and musicianship caused us to end up in this unique spot where we can generally feel free to be who we are at all times\, which is sadly not a luxury enjoyed by all\,” says guitarist Martin Earley. “I think we have a certain sound at the moment\, but that sound is constantly evolving\, and I hope it keeps doing that.” \nPerhaps it is a blessing\, but the band has a certain awareness and interest in all of its surroundings that equates to a form of musical intelligence. See them live and this becomes tremendously clear. They are a product of their community. They wager it all with every song and every performance. They study those with whom they share the stage. They feed off of the spirit of their audience. They grow from each other. \n“This was a huge transition year for us in that regard and I think we are stronger than ever\,” says percussionist Devin Mauch. “When money is tough\, the road is snow covered\, ticket sales aren’t ideal\, food is repetitive\, or relationships back home are struggling\, that’s when you have to be able to turn to your two bandmates and relate to one another on a higher level than others can really understand. We’ve become a pretty solid and supportive unit\, so I think we’ve armed ourselves to take on just about anything.” \nA year of transition it was\, but with new challenges came fresh inspiration. Cellist Calin Peters joined the band in September of 2013\, after Mauch and Earley had been playing with a different cellist for almost two years. Peters’ immersion into the Thieves was almost freakishly natural\, with the band soon after discovering ways to add additional brawn to their sound. For Earley\, this meant falling slightly in love with an old Gretsch hollow body and spending countless hours studying its sound\, experimenting with different ways to make it sing. For Peters\, transitioning into a vocalist was a baptism by fire\, but as a performer\, the ultimate growing experience. \n“I was terrified to try singing lead\, although I always loved creating harmonies\,” she says. “For a while\, even knowing I’d have to sing alone into a mic during soundcheck sent me into a day long panic about that one short\, unimportant moment. But the most frustrating and challenging times for this band are also the most rewarding.” \nThe band is now equipped with twelve new originals that make up their first full-length album\, A Wolf in the Doorway. The work as a whole reflects the new dynamic\, and the excitement that managed to pull all of these songs together in a matter of months.\nHarmonies take shotgun on the record\, lending splendid crescendos to songs like “Saint Monica” and “Lantern\,” raising them from a rather subdued nature and enriching their lyrical sentiments. Peters’ lead vocals on “Bury Me Smiling” are a standout on the album\, stirring in fragile melodies and a change of pace to the record. Earley’s lead vocals at times climax to throaty wails on more gravelly tunes like “Oars to the Sea” or the final track\, “Wolf.” And the backbone for such experimentation comes from the distinct percussion work of Mauch\, who continually seeks to expand the repertoire of sounds from what little of a setup he brings on the road.\n“It bears mentioning that Dev invented his particular style of drumming in his college days and\, just as you might expect\, that kind of thing comes with somewhat of a learning curve\,” says Thieves co-founder Earley. “He’s constantly exploring the limits of what he can do with his setup and adding to it in the process\, and that creative energy definitely contributed to the path we’re on.”\nIt brings to mind the early days of The Ballroom Thieves\, which really weren’t all that long ago. Limited to just a dorm room\, an acoustic guitar\, and a djembe\, Earley and Mauch first began making music together in 2010 while attending college just south of Boston. The minimalism of these early jam sessions continues to permeate in the purity of the band’s recent music\, while songwriting has only grown in complexity.\nBut the content of these songs isn’t just a product of “practice makes perfect.” All three of the Thieves are quick to point out that the foundation of their latest work is a reflection of their travels\, their interactions\, and their time on the road. The band has shared the stage with bands like The Lone Bellow\, Houndmouth\, and fellow New Englanders Dispatch over the last couple of years. Playing in front of six and playing in front of six hundred both happen with regularity\, presenting their own sets of challenges and rewards. Of course\, one of the greatest takeaways is the shared experience with any audience\, and the creative fuel that it continues to produce.\n“The experiences we have with friends\, fans\, and strangers when we perform is what keeps me wanting to explore this art form further and discover all that it has to offer\,” says Earley. “Simple human connection is a beautiful thing and I’m very grateful to be playing music that allows me to experience such feelings on a regular basis.”\nFor The Ballroom Thieves\, this family tree has only just begun to bloom\, but its roots give the trio a strong and solid structure from which to continue to build. A Wolf in the Doorway documents this growth in the most authentic way\, sending any listener off with a heavier heart and a purer soul than when they arrived.
URL:https://royaleboston.com/event/the-ballroom-thieves/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151122T200000
DTEND;TZID=America/New_York:20151122T200000
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CREATED:20151020T122843Z
LAST-MODIFIED:20151020T122843Z
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SUMMARY:Slow Magic & Giraffage
DESCRIPTION:Doors: 8:00 pm / Show: 8:30 pm \nThis event is 18 and over. Presented in association with Mmmmaven. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.
URL:https://royaleboston.com/event/slow-magic-giraffage/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTSTART;TZID=America/New_York:20151124T200000
DTEND;TZID=America/New_York:20151124T200000
DTSTAMP:20260408T020449
CREATED:20151020T123357Z
LAST-MODIFIED:20151020T123357Z
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SUMMARY:Okkervil River
DESCRIPTION:An Evening with Okkervil River – Performing Black Sheep Boy \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Show moved from The Sinclair to Royale. All tickets honored. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nThe Silver Gymnasium takes place in 1986 in the small town of Meriden\, NH. \nOkkervil River bandleader Will Sheff grew up in this isolated hamlet of fewer than 500 residents. His parents taught at a boarding school there. But when he went away to college\, his father accepted a new job in Worcester\, MA. Will had no reason to return to Meriden again\, yet it held sway over his imagination. “Meriden was always a special place\,” he acknowledges. “Because it was locked away in my memory\, I began to romanticize it.” The more he saw of the world\, the more Meriden\, NH seemed like someplace he’d conjured in his head. \nThat overlap between the ordinary and the otherworldly resonates throughout these eleven new songs. Referring to how an emerging adolescent consciousness reconciles the familiar with the unexpected\, Sheff likens the spirit of The Silver Gymnasium to “an action figure you found in the woods… New Hampshire is the woods\, the ’80s is the action figure\, but neither of them is interesting to me on their own; it’s the way they go together.” \nOther years and locations appear throughout the lyrics\, but the action always circles back to the mid-1980s and Meriden\, NH\, and a young man with one foot still in childhood\, yet also aware of mysterious changes underway. “When I talk on the record about my adult life or I’m looking back on my time in Texas\, that’s all through the prism of remembering that starting point. This is a lot more straight-up autobiography and how that period relates to how I feel in my life now.” \nReferences to Atari video games\, VCR machines\, cassette tapes and the films and television shows of that era underscore how pop culture shaped – and disoriented – Sheff and his childhood friends. What secrets were encoded in the laser beams\, novelty haircuts\, crazy sunglasses and synthesizer riffs that crept into Meriden via radio and MTV? “Picture a country kid with very little knowledge of anything outside of his small town\, getting these transmissions from some glamorous other planet.”\nSheff enlisted producer John Agnello\, who worked on ’80s pop staples including Cyndi Lauper’s ‘She’s So Unusual\,’ John Mellencamp’s ‘Uh-Huh\,’ the Outfield’s “Your Love\,” and Scandal’s “The Warrior\,” to evoke the era’s spirit. “I loved that he came up on all these records that I was listening to when I was a kid. He’s an old school producer who listens to songs\, helps with structures\, and sees the entire project.” Agnello’s credits also include Sonic Youth\, Dinosaur Jr.\, and recent releases by The Thermals and Kurt Vile. \nThere were other influences\, too. In keeping with the mid-’80s mindset\, Sheff drew inspiration from the challenges faced by seasoned singer-songwriters like Jackson Browne and Tom Petty as the MTV era unfolded\, and how their new work integrated synthesizers and more succinct song structures. He also looked to young adult books where youthful protagonists map uncharted terrain without adult interference: ‘Danny\, The Champion of the World’ by Roald Dahl; ‘My Side of the Mountain’ by Jean Craighead George; ‘Lizard Music’ by Daniel Pinkwater. The map of Meriden featured in the artwork is deliberately drawn from a child’s eye view. \nFrom the jaunty piano opening of “It Was My Season\,” to the sing-along choruses of “Down Down the Deep River” and “All The Time Every Day\,” joie de vivre permeates The Silver Gymnasium -even in more reflective moments like “Lido Pier Suicide Car.” Messages of encouragement and reassurance crop up repeatedly. From its inception\, Sheff imagined this as an album that might live in your car’s tape deck for years\, the cassette art fading slowly from sun damage. “I wanted to make a record that was friendly\, sweet and compassionate\, and made people feel good when they heard it\,” he explains. Friendship\, rather than romantic love\, lies at the heart of nearly all the record’s relationships. \nAlthough The Silver Gymnasium is Okkervil River’s seventh studio full-length\, the idea for this album has been percolating in Sheff’s head for years. He even created a hypertext fiction website populated with characters and places from Meriden while in college. “I was fully aware this was something I was going to do… eventually.” Once he finally started\, the melodies and words flowed forth quickly\, with minimal fuss. The recording\, which was done in Brooklyn\, NY and Austin\, TX over a period of “a month and change\,” felt equally untroubled. \n“Other musicians and old friends would come visit me in the studio and say\, ‘I can’t believe how calm you seem.’ But it’s true\, I felt very level-headed the whole time.” Making The Silver Gymnasium was one of the least stressful episodes of Sheff’s creative life – and yielded Okkervil River’s finest work to date. “When things flow out easily\, that’s often a good sign. Making ‘Black Sheep Boy’ was like that\, too\, but this is our best record. It’s certainly the one I like the most.” \nAnd you don’t have to be from New England or born in the twentieth century to appreciate it. “I’m not standing on top of the mountain\, screaming that my childhood was special and everyone should pay attention to it\,” Sheff concludes. That’s not the point at all. “I am a firm believer that if you make your work very honest and personal\, then it’s going to be meaningful to people who aren’t like you but have feelings like yours.”
URL:https://royaleboston.com/event/okkervil-river/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151126T200000
DTEND;TZID=America/New_York:20151126T200000
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CREATED:20151118T173835Z
LAST-MODIFIED:20151118T173835Z
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SUMMARY:NIKOS MAKROPOULOS
DESCRIPTION:21+
URL:https://royaleboston.com/event/nikos-makropoulos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20151127T180000
DTEND;TZID=America/New_York:20151127T220000
DTSTAMP:20260408T020449
CREATED:20151022T162038Z
LAST-MODIFIED:20151022T162038Z
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SUMMARY:EDDIE MONEY
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/eddie-money/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTEND;TZID=America/New_York:20151129T190000
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CREATED:20151020T123751Z
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SUMMARY:The Front Bottoms
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is all ages. \n*** \nWhat can we say about The Front Bottoms? We know we love them: a punk band that uses acoustic guitar\, indie-rock dance grooves\, Springsteen-y keyboard lines (this they might deny). It’s hook-filled… it’s anthemic… it’s confessional. Maybe Joni Mitchell by way of Green Day? They must have heard some Replacements along the way\, and it seems like what Jonathan Richman and the Modern Lovers did for the Boston suburbs these guys are doing for Bergen County\, NJ. But they still leave us scratching our heads. Just what the hell have the Front Bottoms alchemized? \n“We like to keep it familiar so that it’s not too intimidating\,” says singer-guitarist Brian Sella\, “but we always make sure it’s not immediately recognizable.” It’s true\, you just can’t quite put your finger on ‘em but Bar/None Records invites you to try to peg these guys with the release of their self-titled debut The Front Bottoms. \nBrian Sella and drummer-bullhornist Mathew Uychich have known each other since they were 10 and 8 years old respectively and have been making music for a lot of that time. It shows in the rich hooks and clever rhythms and the effortless way they string riffs together into surprising song structures. Take a song like “Maps” – it opens with half a Sex Pistols riff before going into an orchestral flourish on keyboards. Then there’s a verse complete with a hillbilly hiccup in the vocal followed by an arpeggio guitar part and full-on raging synthetic strings that lurch into handclaps and an enigmatic chorus “one day you’ll be washing yourself with hand soap in a public bathroom\,” And that’s in the first minute and a half of the song. \nLyrically Brian Sella fires off scattershot images that the listener can gather up and make sense of like working puzzle pieces on the floor. Romance\, freedom\, paranoia\, partying and somehow getting clean all tumble together from song to song. \n“I’m swinging like a fist fight concrete colored basement all right\, let’s keep this as clean as clean as you like” (“Looking Like You Just Woke Up”) \n“I’m a creature of a culture I created/ I’m the last one on the dance floor as the chandelier gives way and I am permanently preoccupied with your past.” (“Swimming Pool”) \n“A lot of the kids we graduated with are homeless which puts them in shady situations with shady people….” (Flashlight”) \nIn “The Beers\,” the narrator surveys said beverage “in coffee mugs\, water bottles and soda cups” in the cinematic residue of a basement party. He recalls beefing up for a Jersey Shore summer of steroids “because you like a man with muscles and I like you.” In “Father\,” the narrator dreams about beating his father with a baseball bat then tries to find solace in his girlfriend’s bed before musing about his ancestral bloodline\, “You look good tonight\, girlfriend. Can I sleep in your bed? / And when I crawl out in the morning can I stay inside your head? Cause you were high school and I was just more like real life…”Matt and Brian started out playing a couple times a year for high school talent shows\, learning a cover song and writing a crappy original each time. “I think we did Modest Mouse ‘Out of Gas’ one year and Green Day ‘Hitchin a Ride’ another year\,” recalls Brian. This led to Brian’s mom presenting him with three hours of professional recording studio time for Christmas one year. “We went in and the guy showed us how to set up. He pressed ‘record’ and left the room. We recorded 12 songs without stopping.” And thus with enough original songs to play a full set\, the Front Bottoms were officially born. Their first club date was an all-ages show at the Main Stage in Pompton Lakes\, NJ. Most of the bands were teen punk bands. Casey Lee Morgan who was doing sound at the club befriended them\, giving them some faint praise\, telling them like they might not be very good but they were better than all the other bands that night. Eventually\, Casey would record them in his basement studio. Much of the music on the Front Bottoms debut was recorded by Casey. \nThe Front Bottoms bounced around Bergen County\, eventually branching out making connections in the DIY concert community that has included everything from punk flop houses\, VFW halls and fire stations. That circuit got them from New England to Florida\, starting in a Ford Escort eventually moving up to an 1989 Econoline van. Mathew’s brother (also named Brian) played keyboards for a while but left amicably after an onstage fistfight and the realization he preferred staying home making pot roasts to playing far flung punk squats. The image of “washing yourself with hand soap in a public bathroom” is the blessing and curse of the freedom and funkiness of life on the lo-fi road. More recently\, Drew Villafuerte has been sitting in on bass and keyboards for select shows. \nWith the wonders of the internet and their obsessive gigging\, they are now known from New Jersey to…Spain (?) where director Pablo Nieto found them online and asked to create a video for “Maps.” The video features Williamsburg\, a farm (where Mathew sometimes works)\, and that aforementioned Econoline as well as some “loveable” hand puppets. Word of mouth and great reviews has them fielding calls from promoters all over the tri-state area. \nNew Jersey’s The Star-Ledger called them “one of the leading lights of the New Jersey pop underground. The group’s amalgam of punk\, guitar-folk\, lo-fi experimentalism\, imagist-inspired poetry (drawing heavily on Sella’s upbringing in the Jersey suburbs) and playful humor (that betrays the singer’s youth) has caught discriminating ears on both sides of the Hudson.” \nThey’ve played Bamboozle\, opened for artists as varied as pop chanteuse Vanessa Carlton and Jersey cohorts Titus Andronicus. \n“We kinda thought we were a punk band but then we’d play on bills with real punk bands and we’d be like ‘Whoa\, were not punks\,” says Mathew. “What the hell are we?” \nWe can’t wait to find out the convoluted answer to that question.
URL:https://royaleboston.com/event/the-front-bottoms/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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